Sturdy wrote:

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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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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!

superchob wrote:

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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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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)

Eamonn wrote:

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

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)

Wickerman wrote:

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Different Class isnt the best Britpop album.

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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

("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.

Wickerman wrote:

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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. 

 

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.

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

Sleeve wrote:

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

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