Pip wrote:

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lipglossed wrote:

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I haven't had a chance to buy a CD today, meaning I'll have to pick one up on Sunday. Shame, I was hoping to buy the album on its release day, like fans did all those years ago... damn broken washing machine!

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 If it makes you feel any better I haven't managed to pick up a physical copy yet, though I did check the supermarket earlier... I don't know why...

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 You dont know why, but you had to start it somewhere, so you started there? 

jarvcore wrote:

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In Hymn of the North when the somewhat discordant part starts and theres the lines trust and believe/ in you and me it sounds like theres some horrible modulating vocal effect. I havent heard anyone else mention it so is it just my ears? Its the only bit of the album I dislike.

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Literally just logged in to post this it sounds like horrible auto tune just out of nowhere.

I've no real issue with autotune if it's used sparingly and not to completely dehumanize a voice. It's not that different to doing twenty takes to reach a note. I've had to use it myself on occasion (Melodyne).

But yeah, "premature live-itis" is a terrible affliction. I suffered badly with it on Further Complications and a bit with Beyond The Pale. The songs played in advance live had so much energy that I was a little bummed-out by the albums when they arrived with more mannered, sleek versions of the songs.

But this time round, thankfully, I think the studio versions generally win the day - Background Noise, My Sex, Spike Island, Got To Have Love, Farmers Market, A Partial Eclipse and A Sunset are all fully realised and there's nothing from the Youtube clips from live '23/'24 shows that I'd swap.

For me it's just getting used to the verses in Slow Jam (I could listen to the three choruses on-loop for days) and that small part of Hymn To The North that I need to sit with.

And Tina has so much energy live on the BBC gig, I'm having to adjust to the slightly smoother album cut.

Which just leaves Grown-Ups which has never been performed live and I'm still not fully convinced of the song. Maybe hearing it live after the album has come out might help me understand the plight of poor Jeremy Sissons (great name by the way - is he Minnie Timperely's uncle?).

The vinyl just arrived. I'm a little confused on the writing credits. All music for the songs written by Pulp. Does that mean the core 4 or the extended 9? Spotify lists all of them and I kind of assumed the 9.

But then on the exceptions (see attached pic), Jason Buckle is listed as a writer for Spike Island (nice to see Serafina still involved and getting a writing credit for Slow Jam and Partial Eclipse). Does that mean Jason didn't co-write the others?

It seems Jarvis is quite democratic with song credits. Nick, Candida and Mark get a a share of the publishing on the Jarv Is... songs and Emma/Rich/Adam/Andrew/Jason get a share of the songs from old Pulp (GTHL and Grown Ups).

I wonder if in the past Russell should have got a credit for Help The Aged (it was written in '96 when he was still in the band - unless he sulked and didn't get involved) while Mark has hinted in the past that there are songs on His'n'Hers that he did contribute to and possibly even Common People (which is probably worth more in publishing than...80%(?) of the rest of Pulp's catalogue?).