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The Only Way is Down

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Didn't Rough Trade, whom Fire used as a distributor, collapse in 1991, delaying Seppy's arrival into the world?

 

Edit: Hadn't seen Mark's post. 

 

Re the seven album deal though, surely that's the very definition of an onerous contract offered when one side has all the bargaining power? I imagine Pulp signed it through gritted teeth. It's not Fire's fault that no other labels were showing an interest in the group in 1990 (and with Pulp having performed, what, three gigs in as many years, it was difficult for any label to check them out where they truly excelled in those days, live) but I can see why, as artists, the band were not fans of Fire.

 

Of course trying to pull a fast one by getting their recordings paid for before trying to bugger off to a different label is pretty shitty not to mention unlawful but they wouldn't be the first band to try and do something similar (Dexys Midnight Runners, pre and post fame spring to mind). Art and commerce, huh, eternally difficult bedfellows.



-- Edited by Eamonn on Friday 22nd of November 2019 01:24:41 PM

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Quantum Theorist

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True about the seven albums bit. Doesn't seem like a situation that was well handled though. But hey, easy for us to say with the benefit of 30 years' hindsight. No doubt it looked and felt very different from the fairly desperate perspective of early 90s Pulp, especially with Suzanne Catty shouting at them all the time.

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Someone Like The Moon

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I think that the Sudan Gerri versions of "Little Girl (With Blue Eyes"), "Blue Glow" and "The Will to Power" are slightly better than the final versions.

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The Only Way is Down

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Ian, how dare you be so controversial!biggrin



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The Only Way is Down

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Sturdy wrote:

True about the seven albums bit. Doesn't seem like a situation that was well handled though. But hey, easy for us to say with the benefit of 30 years' hindsight. No doubt it looked and felt very different from the fairly desperate perspective of early 90s Pulp, especially with Suzanne Catty shouting at them all the time.


 

I'd forgotten all about her! Can't remember if you got to talk to her for Truth And Beauty?  Wonder what became of her.

And did Mark Webber, apparently the complete opposite in terms of personality, replace her?  I need to re-read the book!



-- Edited by Eamonn on Saturday 23rd of November 2019 12:00:38 AM

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Deep Fried

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Eamonn wrote:

Not so on Hardcore. Never!


I've tried, trust me. I can recognise it as a quality piece of work but I find it an absolute slog to listen to. I'm definitely alone on this, I know that! I feel the same way about Seductive Barry. That album was never one of my favourites because of those two songs. I love the rest of it though!



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Cocaine Socialist

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Good thread. I think my most unpopular opinion would be that, however fun the reunion was, and it was, the band really ended that night at Magna. Their history in the true sense ended that night.

The reunion was wish fulfillment and I went rather nuts, but the sense of longing to see them play one last time has now been sated and I miss that sensation of longing. Had a similar sensation when Portishead finally released Third.

Also, whilst it was the first reunion gig I saw and I was soooo excited, the Blur gig at Hyde Park eclipsed the atmosphere at Pulp's...

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Mis-Shape

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Eamonn wrote:
Sturdy wrote:

True about the seven albums bit. Doesn't seem like a situation that was well handled though. But hey, easy for us to say with the benefit of 30 years' hindsight. No doubt it looked and felt very different from the fairly desperate perspective of early 90s Pulp, especially with Suzanne Catty shouting at them all the time.


 

I'd forgotten all about her! Can't remember if you got to talk to her for Truth And Beauty?  Wonder what became of her.

 


 

Is this her?

https://www.linkedin.com/in/suzanne-catty-3a127617/?originalSubdomain=ca

Says she worked for Phonogram.



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Someone Like The Moon

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superchob wrote:

Good thread. I think my most unpopular opinion would be that, however fun the reunion was, and it was, the band really ended that night at Magna. Their history in the true sense ended that night.

The reunion was wish fulfillment and I went rather nuts, but the sense of longing to see them play one last time has now been sated and I miss that sensation of longing. Had a similar sensation when Portishead finally released Third.

Also, whilst it was the first reunion gig I saw and I was soooo excited, the Blur gig at Hyde Park eclipsed the atmosphere at Pulp's...


Yes I can see your point. Most other bands who have done reunion tours (Blur included) have released albums since. I can't help but feel that Pulp were just doing it for the money (though it was great to hear "My Lighthouse" and "Back in LA" played live 30 years after they were released)



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The Only Way is Down

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I think they did it because they had been asked loads of times and finally said yes because they couldn't think of a good reason to say no. They would get paid nicely, they could play their songs together which they missed doing, they could help Tim McCall's family whose funeral had reminded them how unfair life can be and how fortunate they were to be in demand from promoters. And I think at least half the group were keen on the idea of trying to come up with new material together. I also think they felt regret over how things had fizzled out in 2002. 

All just my thoughts/speculation on it but saying it was purely down to money (not that there's even anything wrong with that) is, I don't think, the full story.



-- Edited by Eamonn on Friday 29th of November 2019 12:07:27 PM

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Someone Like The Moon

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Eamonn wrote:

I think they did it because they had been asked loads of times and finally said yes because they couldn't think of a good reason to say no. They would get paid nicely, they could play their songs together which they missed doing, they could help Tim McCall's family whose funeral had reminded them how unfair life can be and how fortunate they were to be in demand from promoters. And I think at least half the group were keen on the idea of trying to come up with new material together. I also think they felt regret over how things had fizzled out in 2002. 

All just my thoughts/speculation on it but saying it was purely down to money (not that there's even anything wrong with that) is, I don't think, the full story.



-- Edited by Eamonn on Friday 29th of November 2019 12:07:27 PM


On reflection, I do agree with you. I think I just wanted an album biggrin 



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The Only Way is Down

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Me too but at least we have a Jarv Is album to look forward to which should contain at least a couple of stone-cold classics.

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Loss Adjuster

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Glory Days is better than Cocaine Socialism.

Different Class isnt the best Britpop album.

Different Class isnt their best album.

This Is Hardcore is too long.

We Love Life is their best album.

Relaxed Muscle is better than most of the work with Pulp.

Jarvis tries too hard make art and is better when relaxed (e.g. Relaxed Muscle, the second album)



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The Only Way is Down

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Your name is Billy Jack, get back!

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Cocaine Socialist

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Wickerman wrote:

Different Class isnt the best Britpop album.



 

Ooof, interesting! Whose would you go for in its stead?

I do disagree - but if discounting DC then I think I'd probably plump for Shine 3 biggrin

("My favourite Beatles album? Probably The Best of the Beatles")

Parklife had more substance than Great Escape. I love the way you can hear youth, yearning and hope in Definately Maybe rather than arrogance and bravado. Can't really classify Suede's first two albums as Britpop. Sleeper were underrated. I wonder what happened to Menswear? Probably playing the wedding circuit. I Should Coco could be in with a shout.



-- Edited by superchob on Saturday 30th of November 2019 09:12:26 PM

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Loss Adjuster

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I consider Modern Life is Rubbish to be the best britpop album. It has got freshness musically and lyrics that I can relate to, more than on Different Class or Definitely Maybe. Also, I love Graham Coxons guitar work.



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Someone Like The Moon

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Wickerman wrote:

Glory Days is better than Cocaine Socialism.
I agree with you now but for about 10 years it was the other way round for me. 

This Is Hardcore is too long.
I don't think it's too long but it's more about poor song choices for me, I think "It's a Dirty World" and "The Professional" should have been on the album in place of "TV Movie" and "A Little Soul" which would have made better b-sides.

Relaxed Muscle is better than most of the work with Pulp.
I disagree, I think the Relaxed Muscle album is pretty good but missing the range and depth of the Pulp albums. 

 

 



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Deep Fried

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I never bought We Love Life...
It was an entire album of the sort of stuff that made up the half of TIH that I didn't care about.

We Are The Boys is probably the last song that I consider to be good Pulp.

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Deep Fried

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Pulp really should have a career-spanning anthology-type double album. Starting with the first Peel Session and ending with After You. All the hits, fan favourites and some rarities to make it interesting. Considering how long a run they had, it's mad that this wasn't even suggested.



-- Edited by timahall on Wednesday 4th of December 2019 10:34:58 AM

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Master Of The Universe

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There should have been a live album made up of tracks from the reunion tour. A bit like Leonard Cohen's 'Songs From The Road'. A mix of hits and oddities. Could have been amazing.

Gawd... it's hard work being a Pulp fan sometimes. I'm sure they don't release so much 'unreleased' stuff as some other bands for fear of it being perceived as 'shite' or that it spoils their legacy.

... which is obviously bullshit!

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Cocaine Socialist

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Hey, where was the deluxe anniversary remaster of Intro last year, eh? Nice cheeky gatefold for a couple of 10" records would've been an essential purchase. Orange vinyl, obviously. Don't care how many times I buy that record. If they'd only keep rereleasing it, I'd keep buying it




-- Edited by superchob on Wednesday 4th of December 2019 08:59:37 PM

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Different Class

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Someone Like the Moon is good
We Love Life is mostly not
Mishapes and Come on Eileen (listen to both and you'll know what I mean)
Jarvis' singing got steadily worse after Separations
The Common People video could have been really good. Look at the orange guy in purple with black hair (think that's right)- what is up with him?
Seductive Barry is alright music with poor lyrics and vocals
TIH is a series of bloated but bland pastiches (Bowie, Portishead, The Beatles)
I'm fond of it but ever since I first heard it, it felt like a miss and never listen to it now.
The unprofessionally rapid fade in at the start of Pencil Skirt is annoying. It's like they'd recorded the violin intro you hear on live version but backed out and couldn't be bothered to re-record it.
Russell has always had a horrible habit of talking bollocks (sez me, ho ho).
But Pulp have been great in so many ways that none of this matters.


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Someone Like The Moon

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Sleeve wrote:

Mishapes and Come on Eileen (listen to both and you'll know what I mean)


I always thought "Death Goes to the Disco" sounded more like "Come On Eileen"



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Cocaine Socialist

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Somewhere like the Moon is good!



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Deep Fried

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Is there people out there who don't think Somewhere Like The Moon is good?

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