I think I had always imagined that Liza Minnelli‘s pop career started with Results, and it is, but it turns out it was actually her ninth album in total, and one of her last. Pet Shop Boys were at the top of their game at the time
It opens with I Want You Now, a Pet Shop Boys composition that’s delivered with irritatingly theatrical flair. As with much of this album, the instrumentation comes from Pet Shop Boys‘ 1989 live tour crew, which leads to an eclectic sound at times. This isn’t, honestly, a great opening track, though – at least not for Pet Shop Boys fans – think about it, at this point they had just released their intriguingly dark dance album Introspective, and now this odd excursion into theatrical pop?
Things look up with the second track, Losing My Mind, later re-recorded with a less flamboyant and more nasal vocal by Neil Tennant and included as the b-side to their single Jealousy. It’s theatrical too – it’s a Stephen Sondheim composition – but the production here lifts it and makes it every bit as good as any Pet Shop Boys cover version. For Minnelli, it was her biggest hit, peaking at number 6 in the UK.
If There Was Love (“were there love,” surely?) is next, not necessarily a song that you could imagine Neil Tennant singing, but one that might have even fitted on the second side of Behaviour. Results is undeniably the sum of its part – you have Liza Minnelli with her theatrical influences, and Pet Shop Boys caught somewhere in the late 1980s, between the dance sounds of Introspective and the sombre mood of Behaviour.
So Sorry, I Said is lovely – there really isn’t any other way of describing it. The album’s third single in late 1989, it wasn’t much of a hit. That should have been obvious, really – the 7″ version was just the album version, which is downtempo to say the least – but it’s a sweet, appropriately apologetic song.
Don’t Drop Bombs isn’t exactly the polar opposite of the preceding track, but for the first time on here it’s really a full-on pop song. This is the sound of Pet Shop Boys truly collaborating – it could have been a perfectly good song of theirs, but as a Liza Minnelli song, it fits her well too. And while it may not be the best track ever recorded, with its huge eighties snares, it isn’t at all bad either.
There are a few unexpected tracks on here, and the cover of Tanita Tikaram‘s Twist in My Sobriety is one of them. What it really underlines is that the original song was great, and while I have no memory of what it sounded like for Tikaram, it works well for Minnelli. Even the whistling is forgivable, under the circumstances.
Less forgivable is the cover of Rent, with an orchestral arrangement by Angelo Badalamenti, who, as the silent partner on It Couldn’t Happen Here a couple of years earlier had helped provide one of the most beautiful moments of Pet Shop Boys‘ early career. Here, somehow his work has worked with the overbearing vocal delivery and butchered what was a beautifully melancholic track by turning it into a tacky showtune. It’s gaudy, and somehow even manages to sound insincere. It’s hard to imagine how this song could have turned out worse.
But that’s as bad as this album gets – final single Love Pains was a flop, but covers a disco classic, now as a Hi-NRG track. I could do without the key change under the circumstances, but it’s not bad. Then the cover of Tonight is Forever, from Pet Shop Boys‘ first album Please, is somewhat over-the-top, but works well, and is definitely well placed as the penultimate track on here.
Finally, I Can’t Say Goodnight is a new Pet Shop Boys composition, a broad jazzy, summery song, which has clearly been written especially for this album. Courtney Pine‘s saxophone solo in Left to My Own Devices on the duo’s 1989 tour may have been interminable, lasting for several decades at least, but his work here is well placed, and complements the vocals and backing well. The slow 6/8 rhythm gives it a typically murky feel which works well. It’s a good closing track.
Pet Shop Boys have since described Results as a PSB album with Liza Minnelli on vocals, and that isn’t unfair. In a sense, that means it will satisfy nobody, as fans of neither act are really likely to cross paths often, but even so, there are moments on this album when it works pretty well, so it shouldn’t be ignored outright.
You probably don’t need the 4-disc remastered edition of Results, but it’s certainly definitive – and can be found here.