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Actually
The duo wearing tuxedos, with one person on the right side yawning and the other staring at the viewer. The words "Pet Shop Boys, actually." appear on top.
Studio album by
Pet Shop Boys
Released7 September 1987 (1987-09-07)[1]
Recorded1986–1987
StudioSarm West and Advision (London)
Genre
Length47:52
LabelParlophone
Producer
Pet Shop Boys chronology
Disco
(1986) 		Actually
(1987) 		Introspective
(1988)
Singles from Actually
  1. "It's a Sin"
    Released: 15 June 1987
  2. "What Have I Done to Deserve This?"
    Released: 10 August 1987
  3. "Rent"
    Released: 12 October 1987
  4. "Heart"
    Released: 21 March 1988

Actually (stylised as Pet Shop Boys, actually.) is the second studio album by English synth-pop duo Pet Shop Boys, released on 7 September 1987 by Parlophone in the United Kingdom and by EMI Manhattan in North America. The album features two number one singles, "It's a Sin" and "Heart", and a duet with Dusty Springfield, "What Have I Done to Deserve This?" Actually is the Pet Shop Boys' top-selling album in the UK, certified triple platinum with over one million sales;[5] worldwide it has sold over four million copies.[6]

Background and recording

[edit]

For their second album, Pet Shop Boys still had material from their early songwriting days, including "It's a Sin" (1982), "Rent" (1984), and "One More Chance" which they had recorded with Bobby Orlando and released as an unsuccessful single outside the UK in 1984.[7] "What Have I Done to Deserve This?" was a collaboration with songwriter Allee Willis, suggested by their manager Tom Watkins; they had hoped to include it on Please (1986) but had to wait for a response from Dusty Springfield.[8]

The duo also wrote new material. "Hit Music" was inspired by the Henry Mancini theme song "Peter Gunn" covered by Art of Noise.[9] The music for "I Want to Wake Up" was written by Chris Lowe;[10] the lyrics added by Neil Tennant compare unrequited love to a bad dream, mentioning the songs "Tainted Love" and "Love Is Strange". The chart-topper "Heart" was a song they considered giving to Madonna[11] as well as Hazell Dean, but ultimately the duo decided to keep for themselves.[12]

"Shopping" began as a joke about spelling out the word as they were shopping, but the lyrics took a serious turn about the privatisation of national industries under Margaret Thatcher. The "Tell Sid" advertisements for British Gas, encouraging people to buy shares in the company, were a particular source of inspiration.[12]

Composer Ennio Morricone shares a songwriting credit on "It Couldn't Happen Here". Pet Shop Boys had contacted Morricone about writing a string arrangement for their song "Jealousy", but instead he sent them an Italian song to work with. Pet Shop Boys used the music from the chorus of Morricone's song and wrote a new verse,[13] with Lowe adding chord changes.[12] Angelo Badalamenti contributed an arrangement which was programmed into a Fairlight by Blue Weaver in lieu of an orchestra.[14] The title "It Couldn't Happen Here" refers to an early belief, discussed by Tennant and his friend Christopher Dowell, that AIDS would not greatly impact the UK. By the time Tennant wrote the lyrics, Dowell had been diagnosed with the disease; he died two years later.[15][16]

The last track on the album, "King's Cross", depicts the area around King's Cross station in London, which at the time was a destination for drug addicts, prostitutes, and the homeless, as well as people coming by train from northern England and Scotland seeking opportunities.[17] According to Tennant, "It's an angry song about Thatcherism. Mrs Thatcher came in on the promise of firm government and I'm interpreting 'the smack of firm government' literally as hitting someone. That's what firm government tends to mean—you hit the weakest person, the man at the back of the queue".[18] With this and songs like "Shopping" and "It Couldn't Happen Here", Tennant noted that Actually can be taken loosely as a critique of Thatcherism.[19]

Actually was recorded at Sarm Studios and Advision Studios.[20] On the album Pet Shop Boys worked with several producers, including Julian Mendelsohn and Stephen Hague. Mendelsohn produced and engineered half of the album's ten tracks, including the lead single and UK number one "It's a Sin", while Hague, who had produced the duo's previous album Please, this time only produced a few tracks, including "What Have I Done to Deserve This?", and mixed "It's a Sin". "Heart", which went on to became a UK number one single, was produced by Andy Richards and mixed by Mendelsohn. Wanting to keep everything fresh and not lose perspective, the production method was usually to work only a few hours at the time on each track and then switch to another.[21]

Music

[edit]

Actually is considered a synth-pop album. According to Matt Mitchell of Paste Magazine, Pet Shop Boys "went absolutely bonkers mad" on the album.[2]

Album cover

[edit]

The album cover was originally going to feature a painting by Scottish artist Alison Watt, who had just won the National Portrait Gallery-supported John Player Portrait Award.[22] The group travelled to Glasgow, along with photographer Eric Watson and designer Mark Farrow, to meet her. Sittings for the painting would have taken three weeks, so instead photos were taken of the duo in different poses. After a few weeks, Watt submitted the painting, but Lowe was unhappy with how he looked in it. The painting was reworked and although Tennant was pleased with it, Lowe still had reservations.[22] It was decided that the painting was not right for the album and it was shelved. The painting was bought by Tennant.[22]

While shooting the video for "What Have I Done to Deserve This?", photographer Cindy Palmano was commissioned to take photographs of them for a Smash Hits cover. She placed them in front of a waist-high piece of reflective metal, with a similar sheet behind them.[22] The photo where Tennant is yawning and Lowe is scowling was the favourite and Smash Hits were keen to use it as a front cover. Eric Watson then took some photos, but it was thought these were not strong enough for the album cover, so they were used for the inner sleeve.[22] The group then decided that Palmano's photo was the best choice. The issue of Smash Hits was due to go to press the following day. They persuaded the magazine to release Palmano's photograph and agreed to do a hastily arranged photo session for them.[23]

Inspired by Jean-Paul Goude's design for Grace Jones album Slave to the Rhythm, Mark Farrow tightly cropped the photo to remove the reflective background and just have the duo on a plain white background.[23] Chris Lowe was, and remains, unhappy with the cover. However it has come to be seen as the defining image of them.[23]

Release and promotion

[edit]

Actually was released on 7 September 1987, debuting at number two on the UK Albums Chart behind Michael Jackson's Bad. It was in the top 40 for 42 consecutive weeks, with 15 weeks in the top 10.[24] It is the only Pet Shop Boys album to be certified triple platinum by BPI.[25] Actually was also certified platinum in seven other countries, including Germany where sales exceeded 500,000 (see Certifications and sales). In the United States, Actually peaked at number 25 and spent 45 weeks on the Billboard 200,[26] selling over 750,000 copies with a gold certification.[27][28]

Actually produced four UK top 10 singles: the number-one single "It's a Sin", "Rent", "What Have I Done to Deserve This?"—which peaked at number two in both the UK and US and led to a resurgence of interest in Dusty Springfield's earlier work—and another UK number one in April 1988 with a remixed version of the song "Heart".[29]

In television commercials for the release, Lowe and Tennant were shown in black tie, blank-faced against a white background. The former seems unimpressed by a radio DJ-style Alan 'Fluff' Freeman voiceover listing their previous hits and new singles from Actually, while the latter eventually "gets bored" and yawns, with the image then freezing to create, roughly, the album's cover shot.[citation needed]

During this period Pet Shop Boys also completed a full-length motion picture called It Couldn't Happen Here.[30] Featuring songs by the duo, it was most famous for containing the video for "Always on My Mind" (starring Joss Ackland as a blind priest), which—while not on Actually—was released as a single during this period.[31]

Actually was re-released in 2001 as Actually: Further Listening 1987–1988. The new version was digitally remastered and came with a second disc of B-sides and previously unreleased material from around the time of the album's original release.[32] A remastered single-disc edition of Actually, containing only the 10 original tracks, was released in 2009.[33] In 2018, a newly remastered edition of Actually: Further Listening 1987–1988 was released, with the same contents as the 2001 edition.[32]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[4]
Los Angeles TimesStarStarHalf star[34]
MojoStarStarStarStar[35]
QStarStarStarStar[36]
Record Mirror3/5[37]
The Rolling Stone Album GuideStarStarStarStar[38]
SoundsStarStarStarStar[39]
Spin Alternative Record Guide9/10[40]
Uncut8/10[41]
The Village VoiceA−[42]

Actually was generally well received by critics. At the time of its release, Chris White of Music Week said Actually was "well worth the wait with the duo coming up with another highly original and distinctive-sounding album" and called it a "great pop album which will deservedly be one of the year's biggest sellers".[43] In December 1987, Robert Christgau of The Village Voice praised it as "actual pop music with something actual to say—pure commodity, and proud of it."[42] In his retrospective review, Stephen Thomas Erlewine of AllMusic said that Actually is the album where "the Pet Shop Boys perfected their melodic, detached dance-pop."[4]

Actually is featured in the 2005 musical reference book 1001 Albums You Must Hear Before You Die,[44] and has been recognised in various other "must-listen" lists. In 2006, Q magazine included Actually in its list of the "40 Best Albums of the '80s" at number 22.[45] In 2012, Slant Magazine ranked the record at number 88 on its list of the "100 Best Albums of the 1980s".[46] In 2020, Rolling Stone placed Actually at number 435 on its list of the "500 Greatest Albums of All Time".[47]

Usage in other media

[edit]

Although not released as a single, the track "Shopping" is frequently featured as background music in British television news and current affairs programmes dealing with retail business issues and as bumper music on home shopping shows.[19] This is despite the fact that the song is actually a critique of privatisation in 1980s Britain, and has little to do with actual shopping.[48] "Shopping" was also used in a series 1 episode of the Disney Channel television series Lizzie McGuire.[49] A more appropriate use of "Shopping" is in the fourth episode of Andrew Marr's History of Modern Britain, dealing with privatisation and deregulation.[50]

"King's Cross" served in the Japanese media as a commercial song for the Aurex's (owned by Toshiba) cassette tape recorder model XDR.[citation needed] The album is featured in the preview of Naughty Dog's game Intergalactic: The Heretic Prophet.[51]

Track listing

[edit]

All tracks are written by Neil Tennant and Chris Lowe, except where noted.

Side one
No.TitleWriter(s)Length
1."One More Chance"
5:30
2."What Have I Done to Deserve This?" (with Dusty Springfield)
4:18
3."Shopping" 3:37
4."Rent" 5:08
5."Hit Music" 4:44
Side two
No.TitleWriter(s)Length
6."It Couldn't Happen Here"
5:20
7."It's a Sin" 4:59
8."I Want to Wake Up" 5:08
9."Heart" 3:58
10."King's Cross" 5:10
Further Listening 1987–1988 (bonus disc)
No.TitleWriter(s)Length
1."I Want to Wake Up" (breakdown mix) (previously unreleased) 6:00
2."Heart" (Shep Pettibone version) (previously unreleased) 4:12
3."You Know Where You Went Wrong" 5:50
4."One More Chance" (seven-inch mix) (previously unreleased) 3:50
5."It's a Sin" (disco mix) 7:41
6."What Have I Done to Deserve This?" (extended mix)
  • Tennant
  • Lowe
  • Willis
6:47
7."Heart" (disco mix) 8:40
8."A New Life"
4:55
9."Always on My Mind" (demo version) (previously unreleased on CD)
4:03
10."Rent" (seven-inch mix) 3:33
11."I Want a Dog" 4:58
12."Always on My Mind" (extended dance mix)
  • Thompson
  • James
  • Christopher
8:15
13."Do I Have To?" 5:15
14."Always on My Mind" (dub mix) (previously unreleased on CD)
  • Thompson
  • James
  • Christopher
2:15

Personnel

[edit]

Credits adapted from the liner notes of Actually: Further Listening 1987–1988.[20]

Pet Shop Boys

[edit]

Additional musicians

[edit]

Technical

[edit]
  • Julian Mendelsohn – production, engineering (tracks 1, 3–5, 7); mixing (tracks 2, 9)
  • Stephen Hague – production (tracks 2, 10); mixing, additional production (track 7)
  • David Jacob – engineering (tracks 2, 6, 10); production (track 6); mix engineering (track 7)
  • Pet Shop Boys – production (tracks 6, 8, 9)
  • Shep Pettibone – production (track 8)
  • Dave Meegan – engineering (track 8)
  • Andy Richards – production (track 9)
  • Tony Phillips – engineering (track 9)

Artwork

[edit]
  • Mark Farrow – design
  • Pet Shop Boys – design
  • Cindy Palmano – cover photograph
  • Eric Watson – inner sleeve photograph

Charts

[edit]

Certifications and sales

[edit]
Certifications and sales for Actually
Region Certification Certified units/sales
Austria (IFPI Austria)[81] Gold 25,000*
Brazil — 160,000[82]
Canada (Music Canada)[83] Platinum 100,000^
Finland (Musiikkituottajat)[84] Platinum 68,416[84]
Germany (BVMI)[85] Platinum 500,000^
Hong Kong (IFPI Hong Kong)[86] Platinum 20,000*
Malaysia — 15,000[87]
New Zealand (RMNZ)[88] Platinum 15,000^
Spain (Promusicae)[89] Platinum 100,000^
Sweden (GLF)[90] Gold 50,000^
Switzerland (IFPI Switzerland)[91] Platinum 50,000^
United Kingdom (BPI)[92] 3× Platinum 1,000,000[5]
United States (RIAA)[93] Gold 750,000[27]
Summaries
Worldwide — 4,000,000[6]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Actually

View on Grokipedia
from Grokipedia
is the second studio album by English synth-pop duo Pet Shop Boys, released on 7 September 1987 by Parlophone Records in the United Kingdom and EMI America in the United States. Produced primarily by the duo alongside Stephen Hague and Julian Mendelsohn, the album features the single "What Have I Done to Deserve This?" with guest vocals by Dusty Springfield, which revitalized her career, as well as "Heart" and "Rent," all of which reached the top ten in the UK Singles Chart. It also includes the track "It's a Sin," a major hit from their prior work that contributed to the album's momentum. The record peaked at number two on the UK Albums Chart and has sold over 900,000 copies in the UK alone, earning triple platinum certification for shipments exceeding 900,000 units. Worldwide sales exceed 2.6 million copies, cementing its role in establishing Pet Shop Boys as one of the most successful acts in British music history with ironic lyrics addressing consumerism, relationships, and urban alienation. Critically, it received praise for its polished production and sophisticated songwriting, often cited as a high point in their discography despite some initial mixed reviews in the US market.

Development and production

Conception and influences

Following the commercial success of their 1986 debut album , which topped the and spawned international hits like "", sought to build on their momentum by crafting a follow-up that demonstrated greater artistic depth and sonic scale. The duo, comprising and , drew from a backlog of pre-existing demos developed in their Camden flat, allowing focused studio work without the distractions of touring. Their intention was to produce a more ambitious and mature body of work, emphasizing fuller arrangements and broader musical palettes to move beyond the debut's club-oriented roots. The album's conception reflected the socio-political climate of Thatcher-era Britain in the late 1980s, with themes of in "Shopping" and in "King's Cross" capturing the era's economic individualism and social disparities, though Tennant later noted these connections emerged retrospectively rather than as deliberate motifs during creation. Personal influences included Tennant's Catholic upbringing, which infused tracks like with explorations of guilt and repression, stemming from his school experiences where "everything you wanted to do was a ". Musically, the duo revived 1960s pop sensibilities through their collaboration with on "What Have I Done to Deserve This?", viewing her as a faded residing in a Hollywood pay-by-day motel, while production elements on incorporated heavier guitar textures inspired by for added intensity. The title Actually originated from the duo's frequent use of the word in casual conversation, selected for its quintessentially English irony and subtle nod to the candid attitudes in the lyrics; alternatives like "Jollysight" were discarded as they evoked trivial branding, such as . This choice underscored their aim for understated amid rising fame.

Songwriting process

The songwriting process for Actually centered on the longstanding partnership between and , characterized by an organic, iterative collaboration where Tennant primarily developed drawing from ironic social observations and personal themes of and dysfunction, while Lowe contributed melodic frameworks often built around synth riffs and rhythms derived from jam sessions or demos. Their method frequently involved independent initial work—Tennant composing in varied settings, such as on a bus, and Lowe generating spontaneous keyboard lines—followed by integration to create contrast between upbeat musical elements and content. This dynamic yielded material accumulated over several years, including early demos that evolved through refinement to avoid conventional pop structures in favor of layered, intellectually engaging compositions. For example, stemmed from a 1982 demo tape, with Tennant penning as a satirical reflection on , later matched to Lowe's rhythmic foundation. Similarly, "Rent" began as a fast-paced track in 1984, undergoing iterations in their collaborative sessions to adopt a more melancholic tone while retaining danceable melodies. Certain tracks incorporated external input, as seen in "What Have I Done to Deserve This?", co-written in 1985 with songwriter , who provided a distinct verse section integrated into Tennant and Lowe's core structure of alternating perspectives on relational strife. Lowe's melodic innovations, such as cheerful yet subversive hooks, complemented Tennant's observational style, ensuring songs like these departed from straightforward pop norms to emphasize thematic depth without relying on clichéd resolutions.

Recording and technical details

The recording sessions for Actually took place primarily in 1987 at and Sarm West Studios in , following initial demos developed in a Camden studio. These sessions, which spanned several months, involved structured daily routines: and typically worked from 10 a.m. to 7 or 8 p.m., with producers and extending into the early morning hours for mixing and overdubs. Vocals were often tracked before dinner, with requiring multiple takes to achieve the desired precision. Production was handled by a team including Stephen Hague (returning from the duo's debut Please), Julian Mendelsohn (overseeing the bulk of the work, including the track ""), and contributions from David Jacob, , and . Keyboard programming by Lowe, , , Gary Moughan, and others emphasized layered electronic arrangements, utilizing tools like the for string simulations and ambient effects—such as the captured on a two-track Nagra for "." This approach enabled ambitious, expansive soundscapes that integrated programmed rhythms with orchestral elements, fostering the album's characteristic polish. Guest vocalist Dusty Springfield's contributions to "What Have I Done to Deserve This?" were recorded separately in after she traveled from , involving extensive takes edited for seamless integration with the duo's synth backing. The meticulous vocal layering and digital processing underscored the production's focus on clarity and emotional depth, balancing propulsive dance elements with introspective textures through precise mixing techniques.

Personnel

Neil Tennant provided lead vocals and lyrics, while Chris Lowe handled keyboards, synthesizer programming, and backing vocals throughout the album. Guest contributors included Dusty Springfield on additional vocals for "What Have I Done to Deserve This?", and Angelo Badalamenti, who arranged the orchestral elements for "It Couldn't Happen Here". Production was collaborative and track-specific: Stephen Hague served as producer and mixer for tracks including "What Have I Done to Deserve This?", "Shopping", "Rent", "Hit Music", and "It's a Sin"; Shep Pettibone produced "I Want to Wake Up"; Andy Richards produced "Heart"; and David Jacob produced "It Couldn't Happen Here" while also engineering mixes for "It's a Sin" and others. Julian Mendelsohn mixed "What Have I Done to Deserve This?" and "Heart", with additional engineering by Dave Meegan on "I Want to Wake Up" and Tony Phillips on "Heart". The Pet Shop Boys themselves are credited as co-producers on the album.

Musical and lyrical analysis

Genre and sound

Actually is a synth-pop album defined by its use of electronic instrumentation, including synthesizers and drum machines, to create layered, dance-oriented tracks with a polished production sheen. The sound draws on electronic pop traditions, emphasizing arpeggiated synth lines and rhythmic electronic grooves that prioritize melodic hooks over raw aggression. This approach aligns with the duo's philosophy, rooted in keyboard-driven arrangements that blend accessibility with technical sophistication. Relative to the duo's debut album Please (1986), which featured sparser, more minimalist electronic textures, Actually (1987) evolves toward fuller sonic palettes through enhanced production techniques, such as ambient field recordings and meticulous layering for a cinematic depth. Engineer Julian Mendelsohn's involvement introduced radio-friendly refinements, balancing experimental electronic edges—like aggressive, distorted synth timbres—with commercial clarity, while incorporating early influences akin to emerging and rhythms. Key instrumental elements include synthesizers such as the Fairlight CMI for sampled and synthesized sounds, drum machines like the Oberheim DMX for punchy electronic beats, and occasional orchestral strings to add textural warmth without overshadowing the core synthetic framework. This combination yields a sound that maintains the duo's detached, ironic electronic aesthetic, distinguishing it from more organic contemporaries by foregrounding programmed precision over live instrumentation.

Key tracks and structure

The album Actually consists of ten tracks totaling approximately 48 minutes, sequenced to alternate between mid-tempo electronic compositions and higher-energy dance numbers for rhythmic variety. It opens with "One More Chance" (3:48), structured as an extended 12-inch remix-style piece co-written with , utilizing layered synthesizers and a straightforward verse-chorus format to establish the album's synth-pop foundation. Standout track "What Have I Done to Deserve This?" (4:23) incorporates guest vocals from and divides its arrangement into modular sections developed separately by , , and co-writer , with Angelo Badalamenti's Fairlight-sampled string orchestration adding textural depth to the verse-chorus progression. "It's a Sin" (4:59), positioned toward the album's latter half, features innovative production layering a thunderclap intro, countdown sample, choral elements, and church organ ambiences over a beat, culminating in repetitive synth hooks and a bridge that escalates tension through dynamic swells. "Rent" (5:07) employs a persistent house-derived with sustained synth pads and minimalistic percussion, extending its bridge for development, while the closer "Heart" (4:17) adopts a pulse at around 121 BPM, structured around piano stabs, bassline propulsion, and a pre-chorus build leading to its anthemic refrain. This arrangement creates a balanced flow, with interludes like the New Order-influenced keyboard break in "" (3:37) providing transitional contrast amid the prevailing electronic instrumentation, consistent across original vinyl and CD editions without structural variants.

Themes and lyrical content

The lyrics of Actually explore interpersonal dynamics and societal shifts in 1980s Britain, blending ironic detachment with underlying emotional vulnerability. Recurring motifs include transactional relationships, as in "Rent," where the narrator describes a dependency framed by material provision: "You dress me up, I'm your puppet / You buy me things, I love it / You bring me food, I need it / You give me love, I feed it." has clarified this as depicting a "kept woman" in a financially imbalanced liaison, emphasizing resignation over romance: "Look, I've seen the preachers / And I've seen the news / Now I've seen the flowers / And I know what's true." This reflects economic , prioritizing sustenance amid relational asymmetry rather than idealized affection. Consumerism and emerge as satirical targets, particularly in "," which mocks the of public assets under Margaret Thatcher's policies. Lines like "We're buying and selling your history / How we go about it is no mystery / You check it with the city, then change the law" allude to the sale of state industries, such as British Telecom in , portraying it as opportunistic erasure of communal heritage for profit. Tennant's delivery amplifies the , critiquing the era's shift toward market-driven without overt moralizing, though the song's melancholy close—"Are you hoping for a miracle view?"—hints at alienation from rapid urban and economic upheaval. Unrequited longing surfaces in tracks like "One More Chance," a plea amid rejection: "I've been chasing the rain / Hoping to catch a glimpse of your face," underscoring futile pursuit in . Similarly, "What Have I Done to Deserve This?" conveys relational breakdown through questioning and regret, featuring Dusty Springfield's weary interjections that heighten emotional authenticity against gloss. subtexts remain implicit, aligned with the duo's identities but veiled for mainstream appeal in a pre-legalization , as in "Rent"'s ambiguous dependency avoiding explicit identifiers. Overall, Tennant's phrasing fosters interpretive ambiguity, linking personal isolation to broader Thatcher-era realism—where emotional bonds mirror commodified exchanges—without romanticizing hardship.

Artwork

Cover design

The cover artwork for Actually, released on September 7, 1987, was designed by Mark Farrow in collaboration with the Pet Shop Boys. It centers on a black-and-white photograph taken by Cindy Palmano, showing Neil Tennant in a tuxedo staring directly at the viewer while Chris Lowe, positioned to his right, appears to yawn with a detached expression. This portrait captures the duo's signature ironic demeanor, with the yawning pose evoking boredom or nonchalance amid formal attire. The album's title is rendered in a stylized, parenthetical format as "(Pet Shop Boys, actually.)" at the top, employing a casual that reinforces the ironic, understated wit central to their visual identity. Farrow's approach emphasized and clever subversion, aligning with the ' strategy to project intellectual detachment in contrast to the era's flamboyant pop aesthetics.

Packaging variations

The Actually album debuted in physical formats including 12-inch vinyl LP, , and audio cassette on September 7, 1987. The standard vinyl edition from (catalogue PCSD 104) employed a matte-finish single-pocket with a glossy printed inner containing lyrics, production credits, and black-and-white interior photographs. releases, such as the CDPCSD 104, utilized the prevailing jewel case enclosure with a four-panel booklet replicating the inner content and outer artwork. Cassette variants, like the TC-PCSD 104, featured standard plastic shells with inserts mirroring the vinyl's , though tape lengths varied slightly by region to accommodate side splits. Regional editions displayed packaging distinctions tied to local manufacturing and licensing; the Spanish vinyl pressing (EMI 74 6972 1) included an extra lyric insert sheet, while Japanese issues (EMI Eastworld E28-1003) added an obi strip and an eight-page "Pet Shop Book" promotional insert with band biography and photos. US releases under EMI Manhattan (e.g., E1-480252 for vinyl) adhered to similar standard sleeves but bore distinct catalog numbers and occasional variant pressing plant markings without additional inserts. By the late , had supplanted vinyl and cassette as the dominant physical medium, with represses maintaining jewel case packaging amid declining analog production. from 2004 onward rendered physical variants obsolete for new sales, shifting to file-based formats devoid of tangible enclosures.

Release and promotion

Initial release

Actually was released on 7 September 1987 by Records in the . Following the success of their 1986 debut Please, which reached number 3 on the and earned platinum certification, maintained their arrangement with , an imprint of , for the sophomore release. The album launched amid heightened expectations for the duo, building on the momentum from hits like "" and "Opportunities (Let's Make Lots of Money)". It was distributed internationally through EMI affiliates, including in on the same date. Initial formats included 12-inch vinyl LP (catalogue number PCSD 104), audio cassette, and , reflecting standard physical media options for major pop releases at the time. The rollout prioritized the market before broader global expansion, aligning with Parlophone's strategy to capitalize on domestic popularity prior to wider promotion.

Singles and marketing

The from Actually, "What Have I Done to Deserve This?" featuring , was released in August 1987 and peaked at number 2 on the UK Singles Chart. This pre-album release, produced by Stephen Hague, incorporated a collaboration with Springfield—her first major pop single in over two decades—and helped generate anticipation through radio airplay and a promotional depicting urban alienation. The single's chart performance directly preceded the album's September 7 launch, contributing to its number 2 debut on the by leveraging the duo's established momentum from prior hits. Following the album's release, "Rent" was issued on October 12, 1987, reaching number 8 in the UK. Its promotion emphasized extended 12-inch remixes and a video highlighting themes of economic dependency, aired on music television programs to sustain post-release visibility. "Heart", the final single, launched on March 21, 1988, and topped the UK Singles Chart for three weeks, driven by upbeat dance remixes and television performances that capitalized on the track's commercial accessibility. These singles' staggered releases, each supported by Parlophone's standard tactics of vinyl formats, radio pushes, and video distribution, correlated with sustained chart presence, as evidenced by their combined top-10 entries amid a competitive 1980s pop market. Marketing efforts included a dedicated for Actually, featuring the duo in stylized settings to underscore the album's ironic pop aesthetic, broadcast to complement single-driven campaigns. Appearances on shows like for single unveilings provided empirical exposure, with video content prioritizing visual narratives over live elements to align with the ' studio-focused image. This approach, rooted in targeted media buys and format variety rather than broad hype, empirically tied to the singles' sales trajectories, avoiding reliance on transient trends.

Tour and live performances

The promotion of Actually centered on television appearances and a handful of live concerts in 1987, as Pet Shop Boys had not yet committed to extensive touring due to their emphasis on elaborate staging. The duo performed key album tracks such as "It's a Sin," "Rent," and "What Have I Done to Deserve This?" on broadcast shows, adapting synth-driven studio arrangements for lip-synced or live vocal delivery over pre-recorded backing. These outings integrated Actually material into setlists that also drew from their debut album Please and covers, reflecting a transitional phase before full theatrical tours. Notable television spots included "" on BBC's on 25 June 1987, prior to the album's release, capitalizing on the single's chart momentum. Post-release, "Rent" aired live on Germany's Peter's Pop-Show on 5 December 1987, with and delivering the track in their signature poised, minimalist style. Another rendition of "" appeared on the same program around the same date, underscoring the song's prominence in live promotion. Additional BBC footage from 1987–1988 captured performances of album cuts like "," further embedding Actually's hits in visual media. Live concerts were sparse, with five documented shows in 1987, including festival appearances and theater dates. A key event was the 11 October 1987 performance at the London Palladium, where setlists featured Actually staples alongside earlier material, performed to audiences in major venues like on 6 September 1987. Stage adaptations relied on rear-screen projections and abstract visuals crafted by director , who had collaborated on the "" video, to evoke the album's dramatic, cinematic quality without full orchestration or guest vocalists like for the duet track. No large-scale tour ensued in 1988, as the duo prioritized recorded output over road commitments, with live activity limited to promotional broadcasts.

Commercial performance

Chart trajectories

Actually debuted at number 2 on the on 19 September 1987, behind Michael Jackson's Bad, marking the duo's highest chart entry at that point. The album maintained a presence on the chart for 60 non-consecutive weeks, spanning from 19 September 1987 to 22 October 1988 (58 weeks), with additional single-week returns on 7 January 1989 and 16 June 2001; it spent 15 weeks in the top 10, 31 weeks in the top 20, and 42 weeks in the top 40. In the United States, Actually entered the Billboard 200 at number 92 on 3 October 1987, climbing to a peak of number 25 and charting for 45 weeks overall. The album's UK chart longevity aligned with the sequential release of singles from its tracklist, particularly "Heart", issued on 21 March 1988 and reaching number 1 on the UK Singles Chart for three weeks from 9 April 1988, which propelled renewed interest and extended the album's top 40 tenure into mid-1988. Internationally, Actually achieved a number 1 peak on the German Albums Chart, number 2 in , number 3 in , number 5 in and the , number 7 in and , and number 16 in and .

Sales figures and certifications

Actually has sold over four million copies worldwide. In the , the album was certified three-times platinum by the (BPI) on April 29, 1988, representing shipments of 900,000 units. The (RIAA) awarded Actually a certification for exceeding 500,000 units sold in the United States. It also achieved platinum certifications in several countries, including (where sales reached 500,000), , , , and .
CountryCertificationUnitsDate
United Kingdom3× Platinum (BPI)900,000April 29, 1988
United StatesGold (RIAA)500,000Circa 1987
Germany2× Platinum500,000N/A

Reception and critique

Initial critical responses

Melody Maker critic Paul Mathur praised Actually as "actually brilliant" in a review published on 5 September 1987, highlighting its polished execution and pop sophistication. The album's production by Stephen Hague was commended for its crisp electronic arrangements and melodic hooks, which elevated tracks like "It's a Sin" and "Rent" beyond standard synth-pop fare. The duet "What Have I Done to Deserve This?" featuring Dusty Springfield drew acclaim for blending the duo's detached delivery with her soulful timbre, marking a commercial and artistic peak that reached number two on the UK Singles Chart in June 1987. While the ironic lyricism of was appreciated for its witty social commentary—evident in songs like "," a veiled critique of under —some observers remarked on the emotional coolness inherent in the ' style, potentially limiting deeper affective engagement. This detachment, a hallmark of their aesthetic, contrasted with the lush melodies but occasionally prompted critiques of superficiality amid the era's upbeat dance trends. Overall, initial press coverage positioned Actually as a refinement of the duo's debut , solidifying their status in 1987's pop landscape without major dissent.

Long-term assessments

In retrospective analyses, Actually has been praised for its thematic sophistication, expanding pop music's scope to encompass critiques of , urban alienation, and ironic detachment from excess. A 2022 assessment highlighted how tracks like "" and "Rent" broadened pop's lyrical palette by intertwining personal introspection with socio-economic commentary, positioning the album as a prescient document of Thatcher-era Britain. Similarly, a reissue review described it as "spectacular, defiant, joyous," emphasizing its enduring structural elegance and fusion of high-concept irony with melodic accessibility. These views underscore a post-2000 consensus that the album's intellectual layering elevates it beyond contemporaneous peers. Critics have occasionally noted limitations in its production and tone, with some arguing that the polished, synthetic sheen—while innovative in 1987—can evoke a certain emotional coolness that borders on detachment, potentially dating its arch in modern contexts. A 2022 reappraisal acknowledged this "over-the-top" quality as both a strength and a stylistic hallmark, though it affirmed the record's freshness through varied and lyrical wit. Balanced against such observations, the album's sonic , including accents and rhythmic propulsion, has been credited with maintaining vitality, avoiding the obsolescence seen in lesser 1980s productions. Empirically, Actually features prominently in curated retrospectives of and 1980s albums, often ranking as one of ' pinnacles. It tops fan-voted aggregations like Best Ever Albums' chart and places second in a 2024 expert poll of their discography, reflecting its canonized status for blending commercial polish with substantive depth. A 2025 feature further solidified this by tracing its influences from riffs to Catholic motifs, affirming its role in genre evolution without succumbing to nostalgic overreach.

Fan and commercial versus critical divide

Despite achieving peak position at number two on the UK Albums Chart upon release on 7 September 1987 and earning platinum certification in the UK for sales exceeding 300,000 copies, Actually encountered occasional critical reservations regarding the perceived emotional detachment in its ironic lyricism and Neil Tennant's deadpan delivery. Some reviewers interpreted this stylistic choice as prioritizing clever detachment over raw sincerity, aligning with broader skepticism toward synth-pop's polished artifice amid the era's rock-dominated authenticity debates. In contrast, the album's commercial momentum—bolstered by number-one UK singles "It's a Sin" (three weeks at the top starting 24 January 1987) and "Heart" (four weeks from 5 March 1988), alongside the number-two hit "What Have I Done to Deserve This?"—demonstrated appeal rooted in meticulously crafted hooks and melodic structures rather than unfiltered expression. Fans, however, consistently valued this very blend, evidenced by sustained high regard in community rankings and user aggregates where Actually frequently emerges as a top Pet Shop Boys album, with tracks praised for their danceable sophistication and incisive observations on consumerism and relationships. This enduring loyalty underscores how the duo's "cleverness"—often dismissed in media as aloof or elitist—functioned as a causal driver of popularity, enabling broad accessibility through pop universality while rewarding repeat listens with layered wit. Over time, such fan-driven metrics, including strong retrospective user scores averaging above 3.7 out of 5 from thousands of ratings, affirm that commercial viability stemmed from empirical listener engagement with the material's structural merits, not alignment with prevailing critical preferences for visceral immediacy.

Legacy and impact

Cultural significance

The album Actually encapsulated the ironic sensibility that defined much of late-1980s British pop, mirroring the era's blend of economic optimism and social detachment amid Thatcher's policies promoting and . Tracks like "" directly alluded to the of state industries, with depicting frenzy—"I'm going shopping / We're so happy we can buy anything"—as a hallmark of the yuppie-driven materialism that characterized the period's cultural shift toward unapologetic . This reflection extended to broader Thatcherite influences, where the duo's synth-driven detachment critiqued without overt , aligning with a societal mood of wry observation over confrontation. In parallel, Actually advanced subtle queer coding within mainstream pop, a rarity in 1987 when explicit LGBTQ+ visibility faced legal and cultural barriers under Section 28. Songs such as "It's a Sin," inspired by Neil Tennant's Catholic upbringing, evoked themes of guilt and forbidden desire through veiled references to institutional repression, resonating with gay listeners attuned to such subtext amid the AIDS crisis and societal stigma. The Pet Shop Boys' ambiguous presentation—polished, ironic, and non-confrontational—allowed these elements to permeate without alienating broader audiences, marking an early instance of queer-inflected pop achieving commercial dominance. Neil Tennant has articulated the band's reliance on and irony as a deliberate counter to pop's prevailing earnestness, enabling layered commentary on personal and political facades that endures as a model for detachment in music. This approach, evident in Actually's of glamour and , positioned the album as a of ironic resilience, influencing perceptions of authenticity in an age of performative excess.

Influence on synth-pop and beyond

Actually advanced by incorporating influences into its production, as seen in the opening track "One More Chance," which was initially developed as a 12-inch to reflect the era's club-oriented trends. This fusion of roots, electronic rhythms, and ironic lyrics elevated the genre's sophistication, distinguishing from contemporaries and setting a template for emotive, dance-derived pop. Beyond , the album's layered electronic arrangements and hit singles contributed to the foundations of (EDM), with recognized for bridging 1980s experimentation to 1990s alternative electronic scenes and 2000s indie-dance revivals. Acts such as and have drawn from this blueprint, adopting similar synth-driven melodies and rhythmic propulsion to reintegrate dance elements into mainstream pop structures. The duo's approach to redefining pop through electronic innovation paralleled developments by groups like , collectively pushing genre boundaries in the 1980s. Actually's production legacy extended to remixing practices, emphasizing extended formats that anticipated electronic music's club , where tracks were adapted for diverse dancefloor contexts. This methodological emphasis on adaptability and electronic refinement influenced subsequent producers in creating versatile, rhythm-focused compositions.

Media usage and sampling

Tracks from Actually have appeared in various films and television programs, enhancing the album's cultural reach. "" featured in the 2009 film Bronson during a mental scene and in the 2019 film , which opens with the track to underscore its thematic elements of youthful rebellion and music's transformative power. The song also appeared briefly in the 2021 TV series on a , alongside extensive use in other programs such as (multiple episodes from 1987 to 2015), Party Monster (2003), and (2025 episode). Similarly, "Rent" was included in the 2023 film Saltburn during a dinner-party sequence and in the 2009 Romanian film The Happiest Girl in the World playing on a radio. These sync licenses have periodically reintroduced the tracks to new audiences, correlating with spikes in streaming and sales data for the album. In advertising, "Shopping" was licensed for a 2013 Tesco supermarket campaign in the UK, appearing in multiple commercials to evoke consumer themes aligned with the song's lyrics on materialism. "Heart" featured in a 2018 global Homme fashion campaign, with members and making cameo appearances, and in a 2017 finals montage. "It's a Sin" appeared in 2019 trailers for the film . Such placements have sustained the tracks' commercial viability, often prompting renewed chart performance or catalog sales through heightened exposure. Covers of Actually tracks include Liza Minnelli's version of "Rent" on her 1989 album Results, produced by the , which adapted the song's electronic style to a more theatrical arrangement. Sampling instances are less frequent but documented, with elements of the album interpolated in Viju Shah and Sadhana Sargam's "Saat Samundar Paar, Pt. 1" (1991) and Rodion Gazmanov's "Lyusi" (1989). These reinterpretations demonstrate the album's rhythmic and melodic hooks influencing later genres, from Bollywood to Russian pop, though direct samples remain sparse compared to broader media syncs.

Reissues and archival releases

In 2001, Actually was reissued as part of the ' Further Listening series, pairing the original album with a bonus disc containing demos, remixes, and additional tracks from the 1987–1988 era. This edition marked an early effort to archive and expand access to session material previously limited to singles and compilations. The album received a dedicated remastering in 2018, released as Actually: Further Listening 1987–1988, featuring an updated audio transfer of the core tracks for improved clarity and dynamics alongside a bonus disc of B-sides, remixes, and unreleased recordings. This two-disc set emphasized preservation of the duo's production techniques while addressing sonic limitations of prior digital versions. A vinyl edition of the 2018 remaster followed, maintaining fidelity to the enhanced master. On 8 July 2025, announced reissues of their first six studio albums, including Actually, in sleeve CD packaging that incorporates the 2018 remaster as a single-disc product without the Further Listening extras. This format upgrade from jewel cases aimed to refresh presentation for modern collectors while relying on the established 2018 audio improvements. No significant sales data for these variants has been publicly reported, though they align with ongoing catalog maintenance by .

Track listing

[Track listing - no content]

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