Eamonn wrote:

I think we're doing pretty well with what we're getting - how many other artists put out 'orchestral pieces' of their tracks? Every song demoed but never previously released from 3 albums worth of sessions is being released. Could even the most positive Pulp fan have predicted that when we heard the albums were being re-issued?

As for the previously released stuff -
The b-sides aren't really readily available are they? Unless you count downloading an mp3 off a file-sharing network. How many times do you see an old Pulp single in HMV?

I'm surprised you feel short-changed Scotty. I think we're doing quite well

Scotty wrote:

Eammon and Sturdy, both of you have very valid points .....

I do keep forgetting im a geek in regard to pulp and there is alot of material that is unheard of to the new listener....

Like i said, i wasnt aiming to be a killjoy lol

Marc wrote:

---

Where´s "Born to cry"?

---

James wrote:

On the Notting Hill OST CD.

Sharon wrote:

When I heard news of reissues, I just expected 'bonus' discs of b-sides. But I did a little wee when I saw the tracklist.

I was just listening to Chevette's version of 'We Can Dance Again' this morning, so I'm looking forward to hearing a pulp versions that wasn't recorded in a cave of some sort.


-- Edited by Steve Devereux at 23:40, 2006-09-02

VoxPop wrote:

If anyones a geek like me and want to pre-order the rereleases, HMV.co.uk has them up. Track listing and all.

James wrote:

Was just thinking, wouldn't it be great if the reissues charted? Not impossible, surely...

Fuss Free wrote:

Polydor Records is releasing their own 2-disk deluxe edition reissues of classic CURE albums on August 7th, and those are expected to chart. At the moment, Amazon UK's sales tracking figures show two of the Cure albums are already in the Top 100. Not too bad for pre-release sales. The Cure probably has a more loyal following than Pulp, but I've learned never to underestimate Pulp's fan base. They're a diverse crowd.

It's still early for the Pulp reissues. We haven't seen any reviews in the legit press. Unless you actively search for Pulp news, chances are you still haven't heard about them. Regardless, Different Class has pushed its way into Amazon Uk's Top 500.

One of the reasons record companies both to release reissues is because they know us old people actually like buying cds. We don't quite trust this whole limewire/itunes stuff that all the kids are into these days.

Jayenkai wrote:

Plus, these aren't just re-issues, they've each got additional extra albums with them, full of soon to be un-rare collectables.

Mind you, if they'd have released the extras seperately, as a series of whole new Pulp-The Lost Collection albums, I do wonder if they'd chart at much better positions..?

Still, you've got us 20 or so buying them, so that's gotta be some kind of chart position, right?

Eamonn wrote:

The review is a decent-length overview, the only reason I bought the magazine, especially after seeing this month's theme is ''Guilty Pleasures - Records It's OK To Love'' complete with a free cd compilation of soft-rock...God save us...

Anyway, the review. I'm not going to type the whole thing out as I've not got time, someone will probably scan it in a day or two anyway, but the things of note were...

The first thing that I saw was the 'star-ratings' - and what leapt straight at me off the page? You're not gonna like this... a measly two stars for His'n'Hers! The justification?
I quote...''With the plasticity of their post-Roxy Music pop made even more brittle by trebly, echoing production, the power of its lyrical themes -class and power played out through the mating game - was never matched by its wholly undramatic music.'' Before you get prepared to lynch Mr Garry Mulholland, at least he leaves the caveat ''Nevertheless, Babies and Joyriders remain strong statements of lyrical intent''. Safe to say that the 'Bullerization'' of His'n'Hers wasn't sorted out in the re-mastering then...Shame.

Mainly I was looking for hints over the unheard stuff but mention is merely made of ''these remastered reissues of the three key Pulp albums - expanded with plenty of excellent b-sides, BBC sessions, demos, remixes...are timely''.

Ultimately it's a positive review though the main plaudits being Mr ****ers lyrics rather than the band's music. His key analysis being that many of today's popular bands owing a great depth to ''****er's blueprint for those outsiders cast adrift...'' and the proclamation that ''These three albums could easily have been made in 2006''.

His final comment once again discredits the music the group wrote in favour of Jarvis lyrical skills - ''Although Pulp's music struggled to keep up with JC's gift for words, these three albums sound more relevant now than they did in the blithely optimistic 90s''.

So in short then, a more than worthy re-appraisal of Pulp's years in the limelight with a disparaging attitude towards some of the music itself.

In my opinion Pulp would never have entertained the idea of a guitar maestro a la Squire, Butler, Coxon running the show. Instead they always placed the power of idea and imagination over perceived musical dexterity, which is a huge reason what them so special.

Both DC and TIH are given the four star treatment by the way - with the 'key tracks' to download apparently being Babies, Common People, Sorted, Help The Aged, This Is Hardcore & Cocaine Socialism.
And interestingly, in the 'If you like Pulp, try these', we have Roxy Music's self-titled lp, 'Kimono My Horse' by Sparks, Ultravox by Ultravox , Bowie's 'Scary Monsters' and 'Employment' by The Kaiser Chiefs -a nice list until that last one! I could have nearly typed out the whole review in the time i've written all this, though it is fairly lengthy, and worth a full read.

Sturdy wrote:

I'm with you there, I think the production on His 'n' Hers is fine.

Reviews are also out in Mojo (just for This Is Hardcore, oddly) and Uncut (nice full page review of all 3, including a few lines from the lyrics to Catcliffe Shakedown and Don't Lose it, plus an interview with Jarvis). Sweet.

Sturdy wrote:

There's an interesting recentish interview with Ed Buller here:

http://www.recordproduction.com/ed-buller.html

I agree His 'n' Hers has an idiosyncratic sound to say the least, but you have to remember at the time that Pulp probably weren't an easy band to record. Not technically great musicians, fond of battered old guitars and creaky analogue synths, yet keen to make chart-compatible pop records without compromising any of their quirkiness. I get the impression that something like 'Street Lites' was Pulp's 'natural' sound at the time... how would you make something like that sound like a viable pop act without turning it into something totally different? I think Buller just about captured it on the whole.

littlesaint wrote:

I prefer the production on Intro and His n' Hers to the other stuff. I found Chris Thomas's production a little too conventional - dispite his punk credantials. DYRTFT is a good example of Ed Buller's work, with lots of nice little noises in the background. I think he reigned himself in a lot more with Pulp than with Suede, who he really lost it with after the first album. Coming Up was awful,