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Post Info TOPIC: I'm with Pulp, Are You? SPOILERS 1999-2003 era


Different Class

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I'm with Pulp, Are You? SPOILERS 1999-2003 era
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Exciting to see the collection of demos and session CDs from 1999-2001. Looking at p245 in particular...

I spy:

Quiet bits 17.10.99:
Prog Rock
Yesterday
Gotta Have Love
Omnichord [multiple tracks]
Minnie [in multiple bits]
If You Must Leave My Life
The White Owl [multiple bits]
Darren
Bob Lind

Demo 16.11.99 [the one that Pulp Online had a picture of... PulpWiki has these recordings as dating from 23-24 October]
Birds in Your Garden
Darren
Bob Lind
Sunrise (Alt/Dynamics Mix)
Yesterday
The Quiet Revolution
Wickerman
Cuckoo Song
Got to Have Love

Live Depot demo:
The Trees (The Sun)
Born to Cry
"Under the Covers"
Emmanuel [revealed to have been the second song they considered recording for Hits, along with Miner's Strike]
Love Is
"Have Your Own"
"To Love Someone"
Roadkill
Yesterday
The Cuckoo Song
My Mistake

Demo [possibly the CD that Trixie had access to, from January 2000]:
Love Is
Bad Cover Version
My Mistake
The Night That Minnie Timperley Died
Forever in My Dreams
The Last Song in the World
After You
M'Lady
Your Grandfather's Nursery
The Performance of a Lifetime
St. Just
Gotta Have Love

Demos [these ones from March 2000 - though there's no sign of Forever in My Dreams here, so PulpWiki might be wrong about where that originated]:
I Love You Baby
Six String
Chordy [aka My Mistake]
Playground [aka Grandfather's Nursery]
Last Song in the World
Medievil Owl
Candy's Spectre [aka Bad Cover Version]
Disco Too Disco [aka After You]
Jungle Rumble [aka Minnie]
Dream Galaxy

Pulp Session CD with "glitches as source", no visible track list

Chris Thomas mixes from 07.06.00 of Minnie Timperley, Birds in Your Garden, Yesterday [later polished for the B-side], Weeds and Sunrise

Pete Lewis Weeds, Sunrise and Bad Cover Version
Howie B Bad Cover Version and Weeds
Ben Hillier version of Weeds

And the mostly-unused WIP soundtrack for Wildside:
Mr. Huge
Therapy Session
Look at Your Pupils
My Chopper
Tony's Dub
You're Fired
Trojan Wars
Sad Goatherd
Disco Approach

Imagine if there was a Webber-curated Pulp Anthology someday. There's clearly so much unreleased stuff.



-- Edited by hawalius1 on Tuesday 1st of October 2024 01:43:43 PM

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Deep Fried

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thanks !

I love the WLL era, so much hidden gems to discover.

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Loss Adjuster

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Mindblowing. Knowing these all exist, im desperate to hear them.

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The Only Way is Down

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That's really interesting, and suggests that there's significantly more in the vaults even than the three demo sessions (Wessex x 2 and Depot) that we knew about.

The 'Quiet Bits' one looks more like a songwriting work-in-progress collection than a studio session. Jarvis did say something in an interview in 1999 about how they were demoing "very badly recorded songs on cassette", so maybe this is that.

For what it's worth got the 23/24 October dates from Wessex Studios - rang them up when I was doing the book and they looked in the diary for me (very nice of them!). Of course there's no way of knowing that this was definitely the session that produced the stuff on that CD, but it seems likely.

The 'Live Depot demo' seems like it might be later on in the process as there are songs there (Roadkill, The Trees) that don't seem to have been around in 1999. Mid/late 2000 maybe?

What I didn't know when I did the book was that the Depot was Steve's studio. So it'd make sense for them to go in there if they wanted to do some quick pre-production demos.

Such a shame that they were evidently flying during this 99/2000 period - there's essentially 3 albums' worth of stuff here, and we know that a lot of it is great. But somehow it just seemed to lose its way once they went into the studio proper.

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Wow! Even if some of these are alternative titles for songs that we have(nt) heard, there's still more material from this era than we knew about.

The recent resurrection of "Got to Have Love" further backs up the theory that the album could have been very different and possibly better than "We Love Life" eventually turned out. Perhaps on reflection, the best course of action would have been to record and release one album with Chris Thomas in 2000 then another with Scott Walker a year or so later.

If they ever do a super-deluxe reissue of "We Love Life", then it's going to be very exciting...

-- Edited by Ian on Wednesday 2nd of October 2024 06:36:57 PM

-- Edited by Ian on Wednesday 2nd of October 2024 06:37:22 PM

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The Only Way is Down

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1999 must have been their most productive year for songwriting- an incredible number of tracks recorded late '99/early 2000.

How ironic, that was the year I got into Pulp and remember desperately scouring the internet for news on new material in autumn '99/early 2000, unable to find anything and worried that This Is Hardcore was to be the depressing, final album!

Doesn't Jarvis say in "Mother Brother Lover" that he intended to release a Pulp album called "The Quiet Revolution" around that time, only to change his mind when Chris de Burgh got there first? I guess a lot of this material would have been on it. Interesting to wonder what form the album would have taken and the publicity around it - semi-acoustic songs, no singles, a tour of small venues perhaps? Many of us would have lapped it up, would Island have lost patience though? Or would it have galvanised everyone for another record, "bigger" with songs from the leftover/new material? Or maybe a lot of those songs wouldn't have been written as this parallel dimension would have meant things working out differently...

Can anyone shed more light on the background of the soundtrack to the Wildside film? Did it come to nothing in the end and was it a Pulp or certain members of Pulp endeavour?

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Deep Fried

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which Wildside movie? Can't be the Chris Walken one released in 1995 or I missed something?



-- Edited by Bookmark on Friday 4th of October 2024 11:55:06 AM

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Different Class

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Yes, same film! The original release of the film was recut by the production company and there was a new version put out in 2000, with a new soundtrack.

From Pulp People 30, Summer 2000:

"As mentioned in the last issue, Pulp contributed some music to Wild Side, the crazy film by Donald Cammell. You know the plot now so I wont repeat myself, hopefully some of you have even been to see it, if so let me know what you made of it!! Mark saw a preview at the NFT a while ago, at which point the soundtrack was incomplete, and only one short piece of Pulp music was included. Still dont know how much of what Pulp did will be in the final but, but Mark, Jarvis and Steve did get a big credit for additional music at the end of the film."

(I don't think the previous issue has been put online yet... I don't know where my copy is, but I don't remember it saying much more about the music.)

From Mr Webber's book:

"We were asked to write some incidental music for Wild Side, the final film by Donald Cammel, which was being reassembled according to his original intentions by his widow China Kong and editor Frank Mazzola. We were sent a VHS of the rough cut which was completely crazy in many fantastic ways, especially because of a marvellously unhinged performance by Christopher Walken.

"Steve, Jarvis and I got together for a couple of days at Steve's flat to work on instrumentals for various scenes. I thought we were just improvising and that we'd go back and develop these ideas later. It was quick and lo-fi and some of the music was quite preposterous, but this recording was sent out to Mr. Mazzola. They ended up commissioning a score from Ryuichi Sakamoto but one of our pieces - My Chopper - was featured in the final cut, towards the end of the film when the main protagonist skulks away in this helicopter. "That's my chopper. The dogs are at the door. Let's go!"

A version of My Chopper was played live in 1999/2000. That's one of the only mentions of the film in Sturdy's book:

"The only Pulp-related live appearance in the closing months of 1999 was a semi-secret gig at the 333 Club in London where Jarvis, Steve, and glass harmonica player Alasdair Molloy played a 25-minute, five-song instrumental set, including 'Roald Dahl', an instrumental based on 'Cockroach Conversation', and a version of one of the pieces that Jarvis, Steve and Mark had recently worked on for the soundtrack of cult director Donald Cammel's posthumous film Wild Side. "The music was heading towards the new age ambient thing," Molloy explained to the NME after the performance, "but with interesting beats going on. There was one track where Jarvis played a Fifties-style guitar. The glass harmonica was used by people like Mozart and Beethoven. I think this is the first time it's been used in this way. We've taken its sound into another space altogether."

The same trio plus Mark and a percussionist, now called A Touch of Glass, played again at Scott Walker's Meltdown in July 2000, where Sturdy describes My Chopper as "slightly Pink Floyd-ish". That performance can be heard here.



-- Edited by hawalius1 on Friday 4th of October 2024 01:48:43 PM

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Different Class

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I find it strange that Born to Cry is on the "Live Depot" CD. That was written in 1998 and was released in 1999 on the Notting Hill album. So what's it doing back in demo form?

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The Only Way is Down

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Yeah, good spot that. Were they considering a rework? Or just bolting it onto a CDR as a reference point for the new material? If that CD is a live demo, maybe they just chucked it into the mix while rehearsing i.e. it wasn't re-recorded/demo'd in a studio, merely performed live amongst new material.

Also, considering he began to "check-out" shortly after this period, Webbo wasn't half-creative at this point between music and film and those little stabs of happiness!

I guess the machinery of the music industry and the pace of your creativity being sucked by the commercial considerations must be a pain in the arse. Although, in this case, Pulp not settling on a producer seemed to be the most limiting factor of all.



-- Edited by Eamonn on Friday 4th of October 2024 03:59:45 PM

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Deep Fried

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hawalius1 wrote:

I find it strange that Born to Cry is on the "Live Depot" CD. That was written in 1998 and was released in 1999 on the Notting Hill album. So what's it doing back in demo form?


 I wondered about that too. It was good enough for to be an album track though, and a pity it was lost to relative obscurity on a UK-only version of the soundtrack. 

 

Could "Candy's Spectre" be "My Body May Die" perhaps?

I know they had some recording sessions with The Swingle Singers around this time and a member of The Swingle Singers told me they recorded backing tracks for several other songs which never made the light of day (or are so buried in the mix as to be imperceptible. .. Weeds & Weeds 2?)

 

 



-- Edited by Simply Fuss Free on Friday 4th of October 2024 05:53:00 PM

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Different Class

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It's Mark Sturdy's book that says Candy's Spectre was an early name for Bad Cover Version. It's intriguing to think that My Body May Die might be in there somewhere, with an unrecognisable name. Perhaps Duck Diving and Fire Island are, too.

Swingles are definitely credited for Weeds 2 and Wickerman, and I suspect their vocals were meant to be on Weeds and Sunrise. I've always thought it's their vox on the All Seeing I Middle of the Road mix.

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Eamonn wrote:

1999 must have been their most productive year for songwriting- an incredible number of tracks recorded late '99/early 2000.

Doesn't Jarvis say in "Mother Brother Lover" that he intended to release a Pulp album called "The Quiet Revolution" around that time, only to change his mind when Chris de Burgh got there first? I guess a lot of this material would have been on it. Interesting to wonder what form the album would have taken and the publicity around it - semi-acoustic songs, no singles, a tour of small venues perhaps? Many of us would have lapped it up, would Island have lost patience though? Or would it have galvanised everyone for another record, "bigger" with songs from the leftover/new material? Or maybe a lot of those songs wouldn't have been written as this parallel dimension would have meant things working out differently...




Not sure about no singles; by summer 2000, they had demoed at least 4 surefire hits (After You, Got to Have Love, Weeds and Minnie).

What is now even more annoying is that the comeback single had no proper B-sides yet they had at least two albums worth of unused material in the vaults. I also remember Jarvis saying in an interview that the final tracks that they did with Chris Thomas were "of a very high standard" or something.

"Candy's Spectre" was definitely an early instrumental version of "Bad Cover Version", the band have said this themselves.

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Deep Fried

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hawalius1 wrote:

Yes, same film! The original release of the film was recut by the production company and there was a new version put out in 2000, with a new soundtrack.

From Pulp People 30, Summer 2000:

"As mentioned in the last issue, Pulp contributed some music to Wild Side, the crazy film by Donald Cammell. You know the plot now so I wont repeat myself, hopefully some of you have even been to see it, if so let me know what you made of it!! Mark saw a preview at the NFT a while ago, at which point the soundtrack was incomplete, and only one short piece of Pulp music was included. Still dont know how much of what Pulp did will be in the final but, but Mark, Jarvis and Steve did get a big credit for additional music at the end of the film."

(I don't think the previous issue has been put online yet... I don't know where my copy is, but I don't remember it saying much more about the music.)

From Mr Webber's book:

"We were asked to write some incidental music for Wild Side, the final film by Donald Cammel, which was being reassembled according to his original intentions by his widow China Kong and editor Frank Mazzola. We were sent a VHS of the rough cut which was completely crazy in many fantastic ways, especially because of a marvellously unhinged performance by Christopher Walken.

"Steve, Jarvis and I got together for a couple of days at Steve's flat to work on instrumentals for various scenes. I thought we were just improvising and that we'd go back and develop these ideas later. It was quick and lo-fi and some of the music was quite preposterous, but this recording was sent out to Mr. Mazzola. They ended up commissioning a score from Ryuichi Sakamoto but one of our pieces - My Chopper - was featured in the final cut, towards the end of the film when the main protagonist skulks away in this helicopter. "That's my chopper. The dogs are at the door. Let's go!"

A version of My Chopper was played live in 1999/2000. That's one of the only mentions of the film in Sturdy's book:

"The only Pulp-related live appearance in the closing months of 1999 was a semi-secret gig at the 333 Club in London where Jarvis, Steve, and glass harmonica player Alasdair Molloy played a 25-minute, five-song instrumental set, including 'Roald Dahl', an instrumental based on 'Cockroach Conversation', and a version of one of the pieces that Jarvis, Steve and Mark had recently worked on for the soundtrack of cult director Donald Cammel's posthumous film Wild Side. "The music was heading towards the new age ambient thing," Molloy explained to the NME after the performance, "but with interesting beats going on. There was one track where Jarvis played a Fifties-style guitar. The glass harmonica was used by people like Mozart and Beethoven. I think this is the first time it's been used in this way. We've taken its sound into another space altogether."

The same trio plus Mark and a percussionist, now called A Touch of Glass, played again at Scott Walker's Meltdown in July 2000, where Sturdy describes My Chopper as "slightly Pink Floyd-ish". That performance can be heard here.



-- Edited by hawalius1 on Friday 4th of October 2024 01:48:43 PM


ok I see, thanks!

Get to the Chopper then
here's the link to the director's cut :

Capture décran 2024-10-04 à 19.30.23.png



-- Edited by Bookmark on Friday 4th of October 2024 06:31:15 PM

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Deep Fried

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This is wild.

As stated earlier in the thread, knowing these exist is mental. I really hope that the ones we might get reworked on a potential new album one day might get released.

Super stoked that there's finally a name to the other track that they was meant to be on Hits, in a weird fanboy way.

And if there's ever been a stronger case for a WLL Deluxe Edition - it's this.



-- Edited by legohairjordan on Saturday 5th of October 2024 02:45:33 AM



-- Edited by legohairjordan on Saturday 5th of October 2024 02:46:34 AM

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Rattlesnake

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Pulp were definitely burned out as hell by 2001 (there's that depressing The Face interview for one) but the creative force never burned out. Oh how things could have been different had Island got their act together. We know what the singles should have been - Sunrise in 2000 when radio wanted it, then for the album, Minnie, Weeds, Bad Cover Version in 2001.

It's ironic, though: all this material, but they still didn't have a B-side to put on the Trees/Sunrise single. Nobody's brightest decision, that one.

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The Only Way is Down

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Wasn't their reasoning at the time that the 11 songs on WLL was all they had produced with Scott Walker and there was nothing left from the sessions?

Maybe all the false starts with the multiple producers they had tried in the two years prior had rendered those recordings condemned. Thankfully, they relented in time for the BCV single.

The label/band may also have thought that being a Double A-Side single, that Trees/Sunrise was sufficient bang for buck for the hapless Pulp fan in your life...

Also, it's quite amusing to learn that "The Trees" used to be called "The Sun" - with presumably very different lyrics.

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Rattlesnake

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I don't think I could stomach a song about The Sun.

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lipglossed wrote:

I don't think I could stomach a song about The Sun.





"The sun, that useless sun, produces light that..."
(I'll get my coat)

Yes, I remember asking Alex from Pulp People about the lack of B-sides to be told that Scott Walker only produced what was on the album. It was a pretty feeble excuse to be honest. I'm sure nobody would have objected to B-sides being produced by someone else (see some of the "Intro" / "His n Hers" B-sides)

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