Oh yeah, that would have been very entertaining. Russell can be so funny.

Well, this isn't what I was thinking of specifically but there's a reference to the type of thing I read somewhere else here:
drdavidclarke.co.uk/tag/russell-senior/

"This custom persists into the present day. Guitarist Russell Senior, of Pulp, recalls how he and Jarvis Cocker, as teenagers, cast coins into the river near the Wicker to appease the spirit of dark and lonely water. This was no ghost, but an imaginary Bergmanesque figure, in a monks robe, who appears in a scary 1973 public information film that warned children to stay away from riverbanks.

There is more evidence of Cockers interest in the Don and its folklore in the lyrics of Pulps song Wickerman (2001):

we gazed down at the sludgy brown surface of the water together.
Then a passer-by told us that it used to be a local custom to jump off the viaduct into the river
When coming home from the pub on a Saturday night. But that this custom had died out when someone jumped
Landed too near to the riverbank
Had sunk in the mud there & drowned before anyone could reach them.'

Edit - I also second the sentiment re Russell. Would love to have similar re his book.

-- Edited by Jean on Thursday 17th of August 2023 02:10:04 PM

-- Edited by Jean on Thursday 17th of August 2023 02:11:16 PM

I'll be in London!

Well, I see an answer to one of my questions. He has sticks up for an auction. 5B Promark. Oak Attack. Thick enough sticks.

I did, indeed. Rushed down from London on the train, which was 10 minutes late in, meaning I missed the start. It was in a quirky old building just off the main strand, with a primitive bar upstairs and then a dimly-lit room downstairs where the talk was taking place. They had speakers in the bar, so the first thing I heard on arrival was the sound of Nick chatting about his first memories of Pulp and his love for the "It" period.

He was in great form and there was a bit of Jarvis in him as a raconteur - confidently building-up each anecdote and emphasising the key points. The crowd all seemed to enjoy it and there was a lot of laughter. Can't remember if there was anything completely new that we haven't read or heard before - the questions were all the type you'd expect, and chronological. Very amusing when he talked about Pulp being journalistically nominated as trailblazers of "crimplene scene" and "Lion Rock" before Britpop was a baby. The host drew much laughter when he asked "What the f- is crimplene?!".

Being in Brighton, Nick mentioned playing Sussex University in the early 90s and that it played a key role in the Pulp story as that's where Geoff Travis and Jeannette Lee saw the band play and offered to manage them.

There was also a funny story about the video for Help The Aged where Stannah Stairlifts were told of the video-treatment and not impressed with how their product may be used. Similarly the charity 'Help The Aged' were worried that they were being made fun of.

After an hour or so, there were questions from the audience, (i.e favourite drummer as a kid/favourite Pulp song to listen to ("Goodnight"?! apparently and to play (Hardcore and CommPeeps). I kind of made the mood sombre by asking for his memories of Steve but I think Nick appreciated it and he gave a lovely answer about how Steve's Charles I (?) poodle-hairdo in the late 80s was his first striking memory of him and that he'd asked Jarvis to ask him to join Pulp given that they were both based in London. Steve's organisational skills and ability to judge what worked musically/how Pulp could use emerging technologies etc. were some of his strongest traits, he said. As well as being a top bloke, of course. 

The book wasn't on-sale but it was one of the top prizes in a raffle on the night - Nick had the first published copy with him and a bloke behind me won it. The book looks like it'll give Truth & Beauty a run for its money in terms of width - very chunky!

There was an interval after which Norman Cook (i.e Fatboy Slim) had a chat with the host and he was great company too. Nick sat amongst us in the crowd for that, I think a couple of members of his family were there too. Norman made a couple of nods to Nick's chat, mainly about how mental fame is when it suddenly arrives and they both pulled out the winning raffle numbers from a goldfish bowl at the end.

Jean, I actually thought you were in attendance because after Nick's chat had finished, a lady in a fine Irish accent approached me and asked if I was Eamonn from Bar Italia. Turns-out she was from Sligo but lives in Southampton and had driven up especially for this. Was delighted that she won one of the raffle prizes (think it was tickets to see Nik Kershaw in Brighton later this year).

Anyway, t'were a good night. Nick, very amiable as you'd expect and I'd thorughly recommend catching him on his little tour. Looking forward to reading the book - out September 28th as he reminded us at least twenty times last night...when self-promotion turns into a running-gag, you know you're doing it right!.

Sounds great, Eamonn. Yeah, Brighton is fab. I went to an event in Sussex Uni before actually. Loved the area.

Well, he's got good taste. I think Goodnight is a great song too but I gather some aren't so keen. Perfect night-time listening as you drift off.

That all shines through about Steve in Russell's book as well doesn't it? That he gave the band a big push musically as well as in terms of organisation. 

Nope, you'll probably never catch me at anything beyond the pale as we say ;) I really should stop being so lazy. I wouldn't even make the effort to go to Belfast to see Jarvis with his book last year. That was the height of laziness and I haven't fully forgiven myself. They have to come to me!

Congrats to the lady from Sligo :) Have a feeling the book will be a good laugh. I thought Russell's and Jarvis' books were too. Be interesting to see it from the drummer's point of view too. Was it Nick was saying before that being the drummer is a bit like being the goalkeeper on a football team. Think some of these dates are selling out, Simply Fuss Free, or close to it so get your tix I'd say!

Simply Fuss Free wrote:

---

I might turn up at the London one.

What's the turn out been like for this? Nick seems to me to be the least well-known member of the Pulp collective.

---

 

Last night was the first event. It was full but had local hero Fatboy Slim as the star-turn. It wasn't a fully proper book promo event I guess, as the product wasn't on sale for folk to buy/get their copies signed. I think the organisers do one of these a month. 

Got my ticket for London and my copy is arriving tomorrow.

Who else is going to Rough Trade? Wanna meet up beforehand?

Are people's books arriving early then? I'm away and a mystery parcel has shown up at home apparently, so maybe I'll have that to look forward to when I'm back.

I ought to get a ticket for Bath judging by the response to the Brighton one!

-- Edited by PulpPerson on Sunday 17th of September 2023 11:37:11 AM

Really? Blimey...no spoilers now!

where did you get yours from? All I remember is ordering in a hurry in case those 1000 hardbacks went fast so no idea if mine will be too

I've sent a message to Omnibus Press asking for an ETA for the signed hardbacks, will let you know if I hear back.

Eamonn wrote:

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First bit of press for the book here, not seen any reviews yet but this is a pretty comprehensive article and interview: https://www.telegraph.co.uk/music/interviews/nick-banks-punk-to-pulp-autobiography-interview/

---

 Was just about to post this but I can't read it anyway due to the subscription. Any good nuggets of info in the article?

Nobody should be forced to patronise the rubbish newspapers in this country. Copy/pasted below.


Pulps Nick Banks: Did Britpop make me rich? Well, I just bought a new mower

The drummer and nephew of Gordon Banks admits hes no Keith Moon. But his new book on life as Jarvis Cockers backbone still rocks

It was the first weekend of the Second Summer of Britpop, and the reviews were in. On the stage of Finsbury Park, a 59-year-old man from Sheffield in glasses and a dark green velvet suit with all the energy and elasticity of an eel (Mojo) beguiled 45,000 giddy Saturday night believers. He threw shapes like Robert Peston at a karaoke party during a Blair-era Labour Party conference (The Telegraph). The 17-song set was stuffed with generational anthems, so much so that by the time they played the intro to Common People, the show had escalated into a full-blown karaoke session, with crowds holding their hands aloft in the air singing every word (Radio X).

This was Julys triumphant return of Pulp, which came seven days before peers Blur played their own comeback gigs at Wembley Stadium. Twenty-one years after splitting, and 12 years since their last revival, the Sheffield band were as tight as their singers tailoring.

The man at the back, holding it all together, agrees. All of them have been absolutely amazing, says Pulp drummer Nick Banks of the bands summer run of shows (which, unlike Blurs, hasnt come accompanied by a new album). I didnt have any qualms that the whole set of gigs would be anything but fantastic.

That said, youre never quite sure how the audience is going to be. Because theyre 25 years older than they were in their prime. Are they just going to be sentient beings enjoying it in a watchful way? But it was amazing to see lots of young kids there, as well as people who had grown up with Pulp. The idea that theyd listened to their mum and dads records, or wed still kept relevant to them, as they started discovering music...

Why does he think Cocker 60 this week wanted to get the band back together again? Dunno, really, to be honest, shrugs the stoutly affable 58-year-old over an afternoon Diet Coke in a pub next to Sheffield train station. Maybe because it was 10 years, roughly, since the last one. He likes things like that. But you dont really want to probe too much. What we doing this for? Yeah, why are doing it? Ah, f___ it, I cant be arsed! So you just go: Yeah, right, what time we rehearsing?

Hiatuses aside, Banks has been staring at Jarviss skinny backside for the best part of 40 years. Even before joining Pulp, though, he had some sense of what its like to be both famous and stuck at the back, keeping a weather eye on things: his uncle was Gordon Banks, goalkeeper in Englands World Cup-winning squad in 1966.

In 1972, Uncle Gordon appeared on This Is Your Life. Host Eamonn Andrews asked team captain Bobby Moore what it was like playing with Banks. Apart from all his wonderful skill and ability, its the assurance of the way he goes about the job, said Moore. Hes assured in life as a whole, hes very easy to get on with, very easygoing. And when he gets on the field, his confidence spreads throughout the whole team. Without it being too much of a stretch, I ask his nephew: could most of that be applied to his role in Pulp?

I would like to think so, says Banks, squirming slightly I know drummers are seen as a little bit crazy, a bit off-the-wall. But I aint no Keith Moon. And Id like to think that if youre playing in a band, you know that when you go to that bit [in a song], everyone in the bands following you. Pulp had been playing for so long to so few people, we developed a pack mentality. We all knew whats needed to happen, or whats going to happen. So you do develop a sort of telepathic sense. If Jarvis does that arm twitch yeah, he does it every night, but we know that means were going into this next bit. And everyones gonna go there usually. Woe betide if youre not there and you get The Look!
Now the musician has applied that unique perspective, his drummers-eye view of Cockers coccyx, to a memoir. So It Started There takes its title from a lyric in Common People, the 1995 smash that powered Pulps career finally. Because, as the name of Banks book intimates, the bands story is, to put it mildly, a precarious picaresque, one spanning four decades and some two-dozen members.

When Pulp eventually took off, they took off like a rocket So It Started There opens backstage at that epochal Glastonbury main-stage headline performance, only a month after Common Peoples release, when they were last-minute replacements for the out-through-injury Stone Roses. Actually, no, it opens with a foreword from good pal Richard Hawley, Mercury-nominated Sheff troubadour and occasional touring member of Pulp said foreword notable for his crack joke about Banks drumming skills: In and out of time like Dr Who.

Well, the drummer always gets poked with a sharp stick, Banks says gamely. Keep time! Too fast! Too slow! Its never quite right for someone. And obviously, Common People does speed up quite a bit through its five minutes 130 beats per minutes to or 155bpm by the end. Its a real runaway train.

But certainly, theirs was far, far away from the straight-out-of-the-box success of their other Britpop rivals, Oasis. It wasnt even on a par with Blurs, who hit the ground sprinting with their third album, 1994s Parklife. Banks joined Pulp in 1986, almost a decade before Common People and Glastonbury. Even in 1986, Pulp had been going, serially unsuccessfully, since 1978, when they were formed by 15-year-old schoolboy Jarvis Branson Cocker.


Banks gives us a ringside seat as Cocker marks Pulps 1994 Top of the Pops debut by taking the mickey out of Wet Wet Wet live on air, and as he moons Michael Jackson at the 1996 Brit Awards. Were at the Mercury Music Prize in 94 when fourth studio album His n Hers loses to M People, and there again in 96 when Different Class triumphs over (Whats The Story) Morning Glory? and Manic Street Preachers Everything Must Go.

Were there, too, as Pulp slog through the indie-music trenches of the early- and mid- Eighties. Teenage Banks watches, agog, from spartan pub audiences as proto-Pulp light up a none-more-grey Sheffield pub-band scene.

Ive got birds-nest hair, leather jacket, leather trousers, jackboots, remembers the Rotherham-born father-of-two. Music then was a bit gothy, industrial, lots of heavy guitars. But this bands got tinkling piano, trombone, backing singers, very quiet, mallet drumsticks with soft ends And this singer you cant take your eyes off. Utterly magnetic. Fey, acoustic, no abrasiveness whatsoever, the complete opposite of what youre listening to [elsewhere].

Catching Pulp for the first time in October 1982, at The Crucible (in the space next door to the hall that is snookers spiritual home), Banks marvels at these local troupers determination to do things differently, even if its more Blue Peter than Black Sabbath.

They were trying to put on a show: toilet rolls, tinfoil, Jarvis in a wheelchair but walking off at the end. At that concert they had little orange cardboard fish, sellotaped to bits of string hanging down from the ceiling, loads of them. I presume they were thinking: make the stage look like were underwater. The bands I knew could barely put some coloured lights together, let alone think orange cardboard fish on string would look great.

As for their frontman: Jarvis was one of those people youd see down the pub, dressed a bit strange. Wed be in those [West] German army Bundeswehr vests. Hed be in a suit and tie. In places where its all punks in leather jackets, a suit and tie was revolutionary. Wed all go to The Limit, which was the only club in town, and hed do his little shoulder shuffle-y dance. He was just odd. Just really, really odd. But in a nice way.

Just as Slits guitarist Viv Albertines tremendous 2014 autobiography Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys gave us, for the first time, a female view on punk from the inside, so Banks offers a unique, clear-eyed take on the Britpop boom and bust: that of a participant standing just outside the spotlight glare. One from a musician who enjoyed the rollercoaster ride but who wasnt spun upside down and nauseous by the experience. Not fully, anyway.

Yes, Banks was not-untouched by 1990s pops blizzard of excess. A darkly funny interlude finds him and a roadie on the Pulp tour bus, en route to a European tour, determinedly hoovering their way through a consignment of cocaine before they reach customs at Dover (Well, we all love a challenge). But generally he kept his head while some Britpoppers were losing theirs. Cocker once told me that he knew hed been enjoying the ride a bit too much when he found himself at a launch event for a new Action Man. Not quite the opening of an envelope, but not far off.


Yes! I went to that party as well! laughs Banks. It was some swanky place in London. They had one of those metal spheres with three motorbikes flying around inside. It was 12-foot across and your nose was up against the side of it, these motorbikes flying by with some stupid model bloke playing Action Man [riding it]. But you just think: Great, someones giving me free beer. Ill have some of that. But, yeah, if youre doing it every night, it would get a bit wearing.

The book freewheels through Pulps first national TV performance, in November 1993, playing Lipgloss on Channel 4s The Word. That was a big deal, he acknowledges, and not just because it was the scene of one of the first dates with his wife of 27 years, Sarah. It was good, after-the-pub TV. We always thought: if we could get in front of people, then they would see [our talent] and they can make their mind up whether we were a bunch of shysters or the best thing since sliced bread.

We accompany Banks to Pulps debut Top of the Pops, in June 1994, playing Babies an appearance notable for Cocker opening his jacket to reveal a sign saying I Hate Wet Wet Wet, a nod to the Scottish popsters have been lodged at Number One for several aeons with their insipid cover of Love Is All Around. That flash of prime-time infamy, though, would pale into insignificance next to another moment beamed into the nations living room.

At the 1996 Brit Awards, Pulp, riding high on the success of Different Class, were nominated in four categories: British Group, British Video, British Single, British Album. Larky to the last, they chose to perform Sorted for Es & Wizz, the single whose origami record sleeve in the style of a drug wrap had got them on the cover of the Mirror the previous summer (with the immortal tabloid headline Ban This Sick Stunt). Also on the bill: Michael Jackson, there to accept the specially fabricated Artist of a Generation bauble.

Arriving at Londons Earls Court for the awards bash, the band were already in playful mood.



The best memory of our walk to stage was seeing a bog-standard (sorry) Portaloo, writes Banks, the kind you see at festivals and building sites, sited backstage with a sign affixed: For the sole use of Mr Michael Jackson. This had us in fits of laughter, imagining Mick was sat in there as we trudged past with his kecks round his ankles, sorting through some pre-show nerves. Should have knocked it over.

The rest, course, is hysteria. During Jacksons messiah-like performance of Earth Song with a bunch of kids, a heartily refreshed Cocker rushed the stage and waggled his bottom or, as Banks puts it, mim[ed] s______ on the Jacko acolytes in the front row. Cut to: Cocker besieged in Pulps dressing room by Jacksons people, police and, offering to dust off his long dormant legal skills to help Cocker, the equally refreshed solicitor-turned-comedian Bob Mortimer.


Cue a trip to Kensington nick, a night in the cells (for Jarvis, not Jackson), a storm of front-page headlines, and Cocker emerging, blinking, into a newfound, very much unwanted status a national hero or disgrace, depending on your feelings about the self-styled King of Pop. At least Cocker faced no criminal charges, his case sealed by the presentation of a video of Jacksons performance, proving he hadnt bumped into any of Jacksons press-ganged children said video filmed by David Bowie.

All of which seems a bit of a laugh now. But on the BBC 6 Musics recent podcast The Rise and Fall of Britpop, co-host Steve Lamacq quotes Cocker at the time: In the UK, suddenly I was totally recognised and I couldnt go out any more. It took me into a level of celebrity I couldnt ever have known existed, and wasnt equipped for. It had a massive, generally detrimental effect on my mental health.


Banks absolutely noticed that onerous burden on his friend and bandmate. And certainly, it affected Jarviss outlook on songwriting and lyric writing. He always thought of himself as the unseen observer looking at the minutiae of life. But when the observer becomes the observed, everything you look at becomes tainted by you looking at it.

After the BRITs 96, the Pulp party was by no means over, but the Britpop hangover started to descend. Their final two albums, This is Hardcore (1998) and We Love Life (2001) both took ruinously long to make. Then, on December 14 2002, they played the Magna Centre in Rotherham. Thisll be the last time you see us for a while, said Cocker. But we may meet again, who knows? It would be almost a decade before we did.

How did Banks feel that night, back in his home town, as the last chord faded away? A bit melancholic, really. There was no clinking of champagne and big hugs and look at the journey weve been on It was a bit glum, really.

But once the dust settled and you got back home and into your standard life, you always thought: the time may come with something else happening.


In the ensuing decade, back in Sheffield, Banks took over the family pottery business (it was eventually killed by Covid) and watched Cocker embark on a solo career, which is all good. But never say never, because its always left hanging with Jarvis. So you always held onto hope that maybe hed want to do some stuff again. But you dont build your life around waiting for it.

Hence, then, two (so far) fun and, it seems, highly functional reunions even if this years model was tinged with the unbearable sadness of the death earlier this year of longstanding guitarist Steve Mackey, reportedly after a brain haemorrhage. He was 56.



Were trying to do something that is a tribute to Steve Mackeys memory, said Cocker at Finsbury Park. I tend to talk about him before this song, because this songs called Something Changed. Its about how somebody can enter your life and really change it all.

I ask Banks how challenging it was doing the shows, looking out at the place where Mackey would have been. Yeah, It was difficult. Steve was such a presence within the group, driving stuff and setting agendas. And obviously, with no Steve on stage, even more of the focus is on Jarvis. Which obviously it was mostly anyway. But without that kind of fellow traveller up there onstage, it changed the dynamic of it. Its such a tragedy that someone so vibrant would pass away so young.

While he seems relatively confident Pulp will ride again, Nick Banks isnt holding his breath. Nor does he need to. When I ask whether being in Pulp made him rich, he replies with a grin: Ah, richer because I moved back to Sheffield! Yeah, Ive got a nice house, a comfortable life. But I havent got a boat in Monte Carlo, I tell you!

The end of the pottery business was a blow, but now he has time to walk the dog, cut the grass. Just got a new mower this morning, actually! he says cheerfully. And, crucially, all those years keeping time and biding his time in Pulp means Nick Banks doesnt have to work.

So, yeah, it all worked out alright in the end!

So It Started There: From Punk To Pulp by Nick Banks is published on September 28 by Omnibus Press. See Banks live in conversation across the UK, info here

-- Edited by Simply Fuss Free on Friday 22nd of September 2023 01:39:29 PM

Ha. Great picture of the young Nick though. Looking forward tonseeing more pics of him as a punk and a goth before he became a Pulper.

Nick on Monday! With @maclureo of this parish.

Not sure what I'll ask him. Going to need to think about this.

With Nick's Q&A, the long-awaited Russell interview, and the Steve fanzine, this is going to be a very Pulpy fortnight for me...

Which shop, Jean? Think you said that you struggled to find Russell's book in "Eire". I remember my local branch of Dubray had a few, surprisingly.

Well-written review (a lot better than the one I did for the same website for Russell's book) here: 

https://louderthanwar.com/so-it-started-there-from-punk-to-pulp-by-nick-banks-book-review/

Monthly music mags a little more sniffy....6 out of 10 in Uncut and three stars in Mojo.

 

-- Edited by Eamonn on Sunday 24th of September 2023 11:45:08 AM

I am not going to be That Guy and ask if there's any plans to showcase some deep cuts, like they did in Brixton in 2011. But it's tempting.

Well, that was last night and Nick was absolutely wonderful - so gregarious, effusive, all of those sorts of words. Dealt charmingly with my fanboyness (I sort of was stuck for words and got a bit giggly) and was so warm and put us at ease, and shook our hands. The Q&A was brilliant - he does little voices sometimes - a really great storyteller. I asked him whether anyone else in the group had a singing voice they'd kept under wraps, and he replied that he himself could "sing like a canary" (his wife Sarah disagreed).

Among other snippets, Nick's responsible for the genesis of Minnie Timperley; he likes Goodnight, My Lighthouse, Blue Girls, Joyriders, Common People and Hardcore; the 'real' reason Jarvis went off Mis-Shapes is that it's quite high and hard to sing; Seductive Barry came from his electronic drumkit's drone settings (and Mark brought the idea of droning instrumental ideas to Pulp - there's the La Monte Young influence). Candida came up with all the working titles, like Seductive Barry, when she wrote down the chords for each song.

The book looks excellent, and our copies have QR codes you can scan to access audio content! Which is very whizzy and exciting.

Unfortunately, due to work and personal commitments, I cannot make any of these. I haven't started the book yet but I am looking forward to it. I don't really have a "favourite member" of Pulp but if pressed, it would probably be Nick. I don't think that he will reveal anything about future live shows and releases though.

Thought the Leeds chat was very enjoyable!

A few nuggets revealed... they had another 9 or so songs on the "b list" for this year's shows, including Joyriders, MLG, Bad Cover Version and a few others. (They'd also tried She's a Lady "but it sounded like a bag of spanners"!) He and Mark had been keen to mix the setlists up a bit but it was difficult because of the quote rigid staging, films etc.

The rest of the band weren't very involved with Hymn of the North - Jarvis had decided he wanted to put it in without much explanation, it was really just based around him, Candida and the orchestra with the others more or less instructed to "join in when you're ready"!

Russell being part of the 2011 reunion had come as a surprise, the first Nick knew about it was first band meeting round his house when Russ knocked on the door! No indication of whether he was asked for this round (although I'm guessing not).

Very much a running theme of being at the mercy of Jarvis' aversion to firm decisions and forward planning. Hence no particular answer to "why 10 years between reunions, and why now?", or any future plans. It did sound like Hymn of the North had been a one off rather than part of any long term plan for new material.

He's read Jarvis' book and though it was great, read Russell's and thought it was "entertaining but not entirely truthful", and was very kind about mine!

Looking forward to getting stuck in to this book...

Yes, Nick looked like he didn't want to explicitly state "Russell's book contains some amount of bullshit", but his face suggested he might have thought that when he said something similar in Glasgow. Has anyone got the guts to ask him more about the specifics....?

PaulTMA wrote:

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Yes, Nick looked like he didn't want to explicitly state "Russell's book contains some amount of bullshit", but his face suggested he might have thought that when he said something similar in Glasgow. Has anyone got the guts to ask him more about the specifics....?

---

It's interesting cos the book's probably warmer towards Nick than most of the others. That whole bit about the two them running round London with Dolores.

Eamonn wrote:

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...and "Crackers" (Sarah Cracknell).

It's interesting/frustrating hearing that they're all such terrible communicators with each other - Jarvis, on the fence about getting together again and then suddenly he tells Nick he's calling round...the rest of them not knowing when the mood will strike Jarvis with regards to new shows or new music etc. The management indulging/used to Jarvis' behaviour. A bit of the Suzanne Catty "Let's fucking do this and tell everyone how great we are!" isn't a bad thing from time to time. Anyone know what she's up to...?

---

 It is frustrating. Kind of a shame it isn't more democratic in some regards, what with Nick & Mark wanting to mix up the setlist, that doesn't happen, but Jarvis decides on Hymn of the North and suddenly it's the showpiece of the biggest gigs... (Not that it isn't wonderful, of course)

-- Edited by lipglossed on Wednesday 27th of September 2023 01:35:55 PM

Well he does frequently refer to Jarvis as "His Majesty"...

Nick's book is great, his writing style is great, it's full of interesting anecdotes well-told -  I think I prefer it to Freak Out the Squares, though both are obviously grand (and for me, So It Started There has the advantage of being a nice shiny hardback rather than an e-book).

And in all honesty, yes. It's polite and effusive and brimming with praise - about his current bandmates, about Steve and even Russell. Young Nick is clearly in awe of Jarvis, and even now he's grateful to share a band with him. But the book is quite damning; you could argue that despite being less manneredly, knowingly theatrical than Russell's delightful tome, it's more matter-of-factly, bluntly, expository of the tensions and hierarchies within Pulp.

I really don't want to get all gossipy here, but to be quite honest, yeah, there's a reading in there that Jarvis dominated the decision-making, Steve had his ear, and no-one else, really, got a look in. And Russell's no angel in Pulp's history - all that stuff about 'it isn't cool to be in Pulp anymore', and then Nick's quite honest about how frustrating it was with Senior's leisurely Russ-bus touring meaning he was in-and-out all the time (even without flying, he probably could've made a few more of the gigs). But I begin to sympathise with Russell a lot more, which is ironic as Nick's obviously got a load of justified frustrations with him.

But devil's advocate - Russell's point of view - years battling with Fire, trying to pull the group together to rehearse, racking up debt, then suddenly it's over - Jarvis and Candida have moved away - and that's that then. And then suddenly Pulp are back together again, because Jarvis has met Steve. And after the studio sessions? They go and sign to bloody Fire again. So now it's hands-to-the-grindstone, trying to work with Suzanne Catty to tear Pulp away from Fire again, except they end up hating each other and fire her... and then they go and make a record with a fashionable producer who lies to Russell and cuts out his parts (and the others don't argue with him). Russell, Candida and Nick are shut out of the decision-making process. Then Mark joins and Russell's role is diminished further (and poor Mark gets blamed - what was he meant to do? Say no?) But yeah, as for Russell...who wouldn't quit, after all that? Didn't they kind of push him away, really? Should he have just shut up and swallowed it? I don't know. But to be quite honest, I don't think I would have stayed, either. 

I don't really buy into that reading completely, to be honest, even if I've just gone and typed all that up. Russell does seem like a pretty difficult person to work with, and I don't blame the band for simply having had enough by 2012. But also, you sort of wonder if that was engendered earlier in the band's history...

There's certainly some stuff there that doesn't reflect well on certain bandmembers. I feel for Nick, having been overruled all the time and not really seeming to have that much clout in a band he'd been in since 1986.

 

[BOOK SPOILERS] 

Spoiler

I mean, Jarvis and Steve wanted Russell out, but Nick and Candida didn't (as the latter told Pulp People, she asked him to stay). Nick says he was called up by Steve, spoke to him and Jarvis, disagreed with them but was overruled... and there's no indication that they asked Candida or Mark for their opinion either. In fact, I think it's fair to say that Candida, who hardly appears in the book past a certain point, probably got shafted with a lot of the decision-making - there's lots of times in the book where it seems they didn't even bother to ask her. (FWIW Nick was also proven right about the production on Pink Glove, while we're at it.)

 It doesn't surprise me that things petered out without much warmth in 2002 if not everyone in the band had much of a say. It can't have kept everyone so invested.

 

-- Edited by lipglossed on Wednesday 27th of September 2023 07:53:56 PM

-- Edited by lipglossed on Wednesday 27th of September 2023 07:57:30 PM

Might be an idea for a separate thread for folk who have alreadtly read so they can discuss it openly without having to use spoiler tags.

Jean wrote:

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Fair play on writing all that up, lipglossed! There was one bit in particular that made me sad. Might be the part Sarah mentioned earlier in thread. Pops into my head every now and again since i read it. Bands are hard. I sometimes regret reading too much about the bands I love. It can't be all sunshine and lollipops I suppose.

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 Made the separate thread! Interested to know what incident(s) you were both thinking of...

lipglossed wrote:

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Nick's book is great, his writing style is great, it's full of interesting anecdotes well-told -  I think I prefer it to Freak Out the Squares, though both are obviously grand (and for me, So It Started There has the advantage of being a nice shiny hardback rather than an e-book).

And in all honesty, yes. It's polite and effusive and brimming with praise - about his current bandmates, about Steve and even Russell. Young Nick is clearly in awe of Jarvis, and even now he's grateful to share a band with him. But the book is quite damning; you could argue that despite being less manneredly, knowingly theatrical than Russell's delightful tome, it's more matter-of-factly, bluntly, expository of the tensions and hierarchies within Pulp.

I really don't want to get all gossipy here, but to be quite honest, yeah, there's a reading in there that Jarvis dominated the decision-making, Steve had his ear, and no-one else, really, got a look in. And Russell's no angel in Pulp's history - all that stuff about 'it isn't cool to be in Pulp anymore', and then Nick's quite honest about how frustrating it was with Senior's leisurely Russ-bus touring meaning he was in-and-out all the time (even without flying, he probably could've made a few more of the gigs). But I begin to sympathise with Russell a lot more, which is ironic as Nick's obviously got a load of justified frustrations with him.

But devil's advocate - Russell's point of view - years battling with Fire, trying to pull the group together to rehearse, racking up debt, then suddenly it's over - Jarvis and Candida have moved away - and that's that then. And then suddenly Pulp are back together again, because Jarvis has met Steve. And after the studio sessions? They go and sign to bloody Fire again. So now it's hands-to-the-grindstone, trying to work with Suzanne Catty to tear Pulp away from Fire again, except they end up hating each other and fire her... and then they go and make a record with a fashionable producer who lies to Russell and cuts out his parts (and the others don't argue with him). Russell, Candida and Nick are shut out of the decision-making process. Then Mark joins and Russell's role is diminished further (and poor Mark gets blamed - what was he meant to do? Say no?) But yeah, as for Russell...who wouldn't quit, after all that? Didn't they kind of push him away, really? Should he have just shut up and swallowed it? I don't know. But to be quite honest, I don't think I would have stayed, either. 

I don't really buy into that reading completely, to be honest, even if I've just gone and typed all that up. Russell does seem like a pretty difficult person to work with, and I don't blame the band for simply having had enough by 2012. But also, you sort of wonder if that was engendered earlier in the band's history...

There's certainly some stuff there that doesn't reflect well on certain bandmembers. I feel for Nick, having been overruled all the time and not really seeming to have that much clout in a band he'd been in since 1986.

 

[BOOK SPOILERS] 

Spoiler

 

 It doesn't surprise me that things petered out without much warmth in 2002 if not everyone in the band had much of a say. It can't have kept everyone so invested.

 

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[Disclaimer: I haven't read Nick's book properly yet.] [Russell's book did come in a lovely hard back version too - just saying!]

The thing to remember with the reunion tour 'meandering' is that Russell says he was only ever going to do 10 gigs based around the 2011 summer festivals. This was agreed with Jarvis - and I would assume, Russell being Russell, there was a contract stating this. Of course Russell is stubborn - he wouldn't/couldn't commit to anything more than what he signed up for. He was having a lovely leisurely summer tour of UK & Europe and that was that.  

I get the impression Nick has not read Russell's book - which is a shame because Russell's book is actually, in general, very lovely. I am biased of course, and I have read it perhaps more than anyone - other than his editor. 

And regarding the Mark stuff Russell wrote - he does turn it around to say that he (Russell) then had a hissy fit and made himself unpopular with the roadies and pointed out that Mark is actually a really lovely person. And in interviews promoting his book he has said that all the Pulp members are decent people. There was no real bad-mouthing of anyone - not even Fire or Suzanne Catty as he chooses to mention them obliquely or not at all.

It was interesting that Nick said no one knew Russell was invited back for the 2011 gigs until they arrived at rehearsals and there he was.

And it was awkward for everyone. 

 

 ALso - Suzanne Catty is now doing aromatheraphy. HERE

 

Yeah, there is more on the internet - she might have a facebook page and whatnot too. Stumbled on it a while back when doing a little project.

 

Oh man, I gotta wait before I can respond here.

Has anyone asked why Hardcore (especially three of the singles) is also being largely ignored? I'm pretty sure that Help The Aged and Party Hard would go down better than Weeds or After You (which isn't a diss on those fine songs, just an acknowledgement that they aren't as well known as the former two).

"Pulp's Nick Banks: "We ain't anything without Jarvis Cocker"

https://inews.co.uk/culture/music/pulp-nick-banks-memoir-jarvis-cocker-reunion-2643540

I was there. Fully enjoyed it. Think I saw you Stephen. Feel like I saw a couple of people from here there. I was too shy to say hello sorry.

What a weird night, but in a good way.

So I was in Liverpool early doors as I went to Goodison Park for the stadium tour of my beloved Everton FC. Spent the afternoon around Liverpool chilling out, and got to Ohmeohmy around 6ish.

Quite a swaggy upper market bar, fitting in perfectly with the "posh" Strand area of the dockside. Nick walks in to the venue, talks to a few staff at the start - then "Oreet there Scott"......haha he only bloody recognises me from Twitter. Mind, im a face you wont forget in a hurry.

Without spoiling the book or the tour, I wont say too much on that - however I did manage to ask a question from the audience......

"Firstly Nick, can I just thank you for the acknowledgment to Pulp Wiki in the book - us guys who use it, and Bar Italia are grateful for your comments. Do you think that We Love Life would get the deluxe edition treatment considering there are so many unreleased songs from the aborted sessions etc".

NB - "Im only the drummer, bottom of the pile. Youre correct there are alot of songs recorded - but I cant say whether it would happen or not. Id like it to though"

Or words to that extent.....

As I am about to go queue up for the signing, I only bump into the one and only Stephen Bray from good ol' Bar Italia! A pleasent surprise and a nice conversation had whilst im huffing and puffing to Lime St Station like the big overweight oaf that I am.

My bloody train is cancelled!!!! I had to go to Manchester then to Chorley to get home. FFS.

Worth every moment? Hell yes :)

Rachel - shame you didnt make yourself apparent - never need be shy to fellow Bar Italians :) Hope you enjoyed the night.

-- Edited by Scottbloodyfrazer on Friday 29th of September 2023 01:39:38 AM

Pic of the night (by a stranger who I thank so much) 

 

 

I think it was just logistics tied into the elaborate stage and lighting, which is fair enough in a way. Pulp have never had such high production values live and it fitted them like a (pink) glove.

I'll be at Rough Trade!

Eamonn wrote:

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Me too. See ya beforehand for a colleagial drink.

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 Result! Bartered with my manager for a 9-5 shift, probably because of good behaviour, so I'll have to hoof it down to Rough Trade. Hopefully I can join you too for a drink.

 

Warning. I will probably be rather sweaty.

He knows I'm Lipglossed on Twitter. He seemed to like that, which is nice. No shame in being a Bar Italian (is that what we call ourselves?)

Sarah, Violin Thing, Eammon, yeah let's have a drink!

Brick Lane Taproom is opposite Rough Trade East but it's kind of sterile and whatever the opposite of "cosy" is. Maybe The Ten Bells? Or The Pride of Spitalfields?

Seems there are a few round Liverpool St, which is where I'm heading from anyway - but not familiar with any. Two are "All Bar One" pubs, then there's The Woodins Shades and The Magpie.

Thanks for the asking The We Love Life question. Hopefully it will come up enough during this book tour he will take it back to the band. I wonder if he / Pulp are aware of the petition to release a deluxe edition? if there are so many unreleased tracks it may need a third CD!

I went to the Q&A in Nottingham this evening. I was unsure how many people would turn up, but the turn out was actually very decent, and there were almost no seats left when I arrived. Nick's an engaging speaker and I thoroughly enjoyed listening to him. The chat and questions didn't really bring up any surprises. Lots of interesting stuff covered, but largely things also mentioned in the book or already reported from earlier Q&As. Someone asked what is the most difficult song for him to play - he said Help the Aged, due to the short pauses, with Jarvis often saying he came in too early or late.

He opened the chat by asking whether anyone was at Pulp's first gig in Nottingham at the long forgotten Barracuda Club in 1987 (nobody was). When I got my book signed afterwards he told me he'd only remembered the Barracuda show after looking at the wiki earlier in the evening, which is nice to know.

Well, well...maybe that explains Help The Aged's non 2023 concert-fate.

Glad you enjoyed it Will and great to see you posting. Did you introduce yourself to Nick as the Wiki creator?

That answers another question. Was wondering did they ever play to a click live. Presumed they didn't because I thought Like A Friend fluctuated in tempo at times on the tour this year. Maybe I'm wrong. It still sounded great. A bit of a highlight for me to hear it live.
I was reading that about WLL as well with Jarvis saying they didn't want to be worrying anymore about a cymbal coming in a millisecond late or whatever so that was more organic too.
Did he ever play live to a click? The others can follow him then. I thought maybe with Help the Aged he could keep the tempo going for the others with the hihat at those short breaks so the others would know where to come back in but then with e.g. Monday Morning live i don't think those breaks were ever timed and it'd change on the night. God I sound like a bore. Anyway, question answered. Was just curious.

Edit: did notice over the years that Jarvis seems to do the counting in for a lot of the songs. 

-- Edited by Jean on Monday 2nd of October 2023 01:35:15 PM

-- Edited by Jean on Monday 2nd of October 2023 01:42:06 PM

Warm reviews, though it's a shame both of them talk about Jarvis's book first!

Thanks, Sarah. Must look that up and must rewatch the performances. Now that you say it, I think (from memory) Nick wears headphones doing A Little Soul live and I think he used to always do that with Minnie Timperley as well. Can't remember with the others. Maybe when he uses those that's when he's using a click. Be easier to hear the click track with noise cancelling headphones. I think someone asked him on twitter about the in ear monitors earlier this year but they must just be listening to each other/whatever instrument they want to hear more of rather than click on those if doing HTA is a problem.

Eamonn wrote:

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Sarah/Weej - have you decided where you're having a drink beforehand? I finish work at 6 but it'll take at least half an hour for me to get across to Liverpool St/Brick Lane.

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 I knock off work at 4 but might have to stay til 5 if it's busy, but where i work is on the District line so getting to Aldgate East is no problem. I suggest meeting at the Ten Bells. I don't think it's too far from Rough Trade. Want me to make a reservation for 6-ish?