Despite being considered one of the big four of nineties Britpop, along with Oasis, Blur, and Suede, Pulp was around long before that, having first formed in 1978. During the heyday period of 1992 to 1997, the line-up consisted of vocalist Jarvis Cocker, keyboardist Candida Doyle, guitarists Russell Senior and Mark Webber, bassist Steve McKay, and drummer Nick Banks.
The band found very little success during the first decade of their existence, emerging out of obscurity with 1994’s His and Hers, followed a year later by Different Class, which hit number one in the UK. The album featured the band’s signature song, “Common People,” which peaked at number two on the UK singles chart. The band was known for their lyrical observations on northern English life, which came from an influence of British social realist film and literature. They were popular during the Britpop era, being nominated three times for the Mercury Prize and winning it once.
In 2001, Pulp went on a ten-year hiatus. They reunited in 2011, after which they played several of the UK’s biggest music festivals. However, they split up again in 2013.
# 10 – They Suffocate at Night
We open our Pulp songs list with one that is a bit creepy. We probably could have put this one on our scariest rock songs of all time list. “They Suffocate at Night,” was released on January 5, 1987. The song was recorded at Input Studios in Sheffield in June 1986. It was the closing song on the band’s album entitled Freaks. “They Suffocate at Night” was also featured in the compilation album “Masters of the Universe.” The creative force behind the song includes Jarvis Cocker, Russell Senior, Candida Doyle, Peter Mansell, and Magnus Doyle, with production credits going to both Pulp and Jonathan Kirk.
Positioned between the 1986 single “Dogs Are Everywhere” and the 1987 release “Master of the Universe,” this single marks a significant point in Pulp’s discography. The 7″ vinyl format offers an edited 4-minute version of “They Suffocate at Night” and a 4-minute 30-second version of “Tunnel,” while the 12″ vinyl provides fans with a 6-minute 17-second uncut version of the main track and an 8-minute 13-second full version of “Tunnel,” all under the Fire label.
# 9 – The Trees
“The Trees” was released on their 2001 album, We Love Life. This track is notable for incorporating a string sample from “Tell Her You Love Her,” a piece from the “Otley” film soundtrack. Jarvis Cocker, Pulp’s lead singer, has described the song as a reflection on the indifference of trees to the human dramas unfolding within the woods.
In a move to align with their record label’s strategy, Pulp released “The Trees” alongside “Sunrise,” their preferred single, as a double-A side on October 8, 2001. Despite peaking at number 23 on the UK Singles Chart and not achieving the commercial success of Pulp’s earlier singles, “The Trees” has garnered positive critical acclaim over time. Steve Mackey, the band’s bassist, has praised the song for perfectly capturing the essence of “We Love Life,” especially since it was one of the last tracks composed for the album, helping to define its overall direction.
The inspiration for “The Trees” came from a desire to use the string arrangement from “Tell Her You Love Her,” a desire Cocker had harbored since 1999. The song went through various iterations, including “Cockroach Conversation” and “Otley,” before finally becoming “The Trees” during the concluding sessions for the album. Cocker has explained that the song’s lyrics muse on the stoicism of trees amidst human activities and emotions that occur in a forest, such as secret rendezvous and the carving of names on tree bark as misguided symbols of lasting love.
Addressing a line in the song, Cocker clarified that he has never engaged in shooting animals, recounting his childhood experiences with an air pistol at his grandmother’s house, which was safely hidden away as he grew older.
# 8 – Party Hard
The song “Party Hard” delves into the band’s disenchantment with the relentless pace of the clubbing scene, set against a backdrop of David Bowie-inspired vocals. This intriguing track debuted as the fourth single from the album This Is Hardcore on September 7, 1998. Despite its vibrant energy, it only reached number 29 on the UK Singles Chart, a result that didn’t quite meet the band’s expectations. A notable hiccup occurred when the second CD of the single featured remixes that exceeded the length allowed by new chart eligibility rules, which inadvertently affected its performance.
The release was visually immortalized through a music video by Hammer & Tongs, where dancers in form-fitting Pulp T-shirts encircle Jarvis Cocker, emulating the song’s rhythm, a scene that Pulp themselves reenacted on the iconic “Top of the Pops.” The video’s inspiration sprang from an old German variety show, adding a layer of retro charm to its conception. Live performances added a theatrical flair, with balloons cascading over the audience, echoing the music video’s whimsical element.
Recorded in 1997 and spanning four minutes, “Party Hard” melds dance-rock and funk, produced under the aegis of Chris Thomas and released by Island Records. The collective genius of Nick Banks, Jarvis Cocker, Candida Doyle, Steve Mackey, and Mark Webber gave birth to this track, weaving a narrative that resonates with the weariness of nightlife yet thrums with the vitality of rock.
# 7 – Countdown
“Countdown,” was released on their third album Separations. It defines and encapsulates a significant phase in the band’s early career, blending synthpop rhythms with introspective lyrics. Released as the album’s second and final single on 22 August 1991, “Countdown” underwent a re-recording specifically for this release, showcasing the band’s commitment to refining their sound. Despite the CD single cover mirroring the track listing of the 12″ single, the order of the tracks was reversed, adding an element of surprise for listeners.
The song’s B-side, “Death Goes to the Disco,” complements the single’s exploration of themes related to time and existential reflection. Recorded at Fon Studios in January 1990 and remixed in May 1991, the track spans 4 minutes and 42 seconds, epitomizing the synthpop genre that Pulp was experimenting with at the time.
“Countdown” is more than just a song; it’s a narrative of Pulp’s frustration and impatience with their slow climb to recognition. Having formed fourteen years prior to the release of Separations, the band was yet to taste mainstream success, a theme that permeates the lyrics and mood of “Countdown.” The track reflects the band’s longing for breakthrough and the ticking clock that seemed to mock their aspirations.
However, unbeknownst to them, success was looming on the horizon, making “Countdown” an unwitting prelude to Pulp’s forthcoming prominence in the Britpop scene. This song, therefore, stands as a poignant marker in Pulp’s discography, capturing a moment of anxious anticipation just before their ascent to widespread acclaim. Through “Countdown,” listeners are offered a glimpse into Pulp’s more obscure days, characterized by a blend of danceable beats and a yearning for the recognition that was, indeed, just around the corner.
# 6 – Sorted for E’s and Whizz
“Sorted for E’s & Wizz,” was released on the 1995 album Different Class. It delves into the drug culture associated with raves. The song, inspired by a phrase lead singer Jarvis Cocker overheard, offers a nuanced examination of the fleeting and ultimately unfulfilling nature of drug-induced euphoria. Despite its contemplative lyrics, the track stirred controversy in the UK, with tabloids attacking its perceived glorification of drug use.
Released as a double A-side single with “Mis-Shapes” in September 1995, “Sorted for E’s & Wizz” climbed to No. 2 in the UK Singles Chart and became a significant hit in Ireland as well. The song’s live debut at the Glastonbury Festival in 1995 provided the perfect backdrop for its themes, with Cocker highlighting the song’s origins in a real-life encounter and the vacuous promises of drug culture.
The controversy surrounding the song peaked when the Daily Mirror ran a front-page story calling for a ban on the song, misinterpreting its message and album artwork as promoting drug use. Pulp responded by clarifying the song’s intent and altering the controversial artwork, emphasizing that the track neither glorified nor condemned drug use but rather portrayed a factual account of Cocker’s experiences in the rave scene.
# 5 – Bad Cover Version
“Bad Cover Version,” was released on Pulp’s 2001 album We Love Life. It artfully combines Candida Doyle’s instrumental prowess with Jarvis Cocker’s evocative lyrics to explore themes of inadequacy and nostalgia in relationships. Released as the band’s final single before their hiatus, on 15 April 2002, it reached number 27 on the UK Singles Chart. The song humorously compares a lackluster new relationship to various disappointing sequels and remakes in pop culture, emphasizing the irreplaceability of genuine connections.
The lyrics, penned by Cocker, were inspired by his reflections on a former lover’s new relationship, which he viewed as a subpar imitation of their past bond. The song’s vivid comparisons, including a nod to Scott Walker’s album “Til the Band Comes In,” illustrate the emptiness and superficiality often found in replacements that fail to capture the original’s essence. Interestingly, Walker, who produced the album, became an unwitting participant in the song’s narrative, showcasing the unpredictable intersections in the music world.
Despite debates within Island Records regarding the release of another single from We Love Life, “Bad Cover Version” was ultimately chosen, albeit with a delayed release. Accompanied by notable B-sides, including covers by Nick Cave and Róisín Murphy, the single offered a multi-faceted exploration of the song’s themes.
The music video for “Bad Cover Version” further extends the song’s commentary on imitation, featuring a cast of celebrity lookalikes in a parody of charity supergroup performances. Cocker’s cameo as Brian May adds a layer of meta-humor, blurring the lines between homage and parody. This playful yet poignant critique of inauthenticity in both music and relationships solidifies “Bad Cover Version” as a memorable entry in Pulp’s discography, marking the end of an era for the band with a reflective glance at the past.
song was the second single to be taken from the 2001’s We Love Life. It reached number twenty-seven on the UK singles chart. It is notable as being the final single before the band’s hiatus. Also notable was the song’s promo video which did not actually feature the band themselves playing the song. Instead, a number of musical celebrity lookalikes sang different lines of the song in the style of the star that they were impersonating.
# 4 – Do You Remember the First Time?
“Do You Remember the First Time?” was released on the band’s fourth studio album, His ‘n’ Hers (1994). The song, which delves into the theme of losing one’s virginity, was inspired by frontman Jarvis Cocker’s own experiences and musings on the universally relatable milestone. Despite its controversial subject matter, the track climbed to number 33 on the UK Singles Chart, marking Pulp’s inaugural foray into the top 40 and signaling the band’s rising prominence in the British rock scene.
The song’s narrative extends beyond the mere act of losing virginity, weaving a tale of longing and unrequited love. It portrays a protagonist caught in a love triangle, yearning for someone who remains entangled with another. This complexity adds layers to the track, making it resonate with listeners on multiple levels. Music journalist Ryan Leas highlighted the song’s dual narrative, pointing out its significance not only as a recollection of a first sexual encounter but also as a reflection on past relationships and the desire to rekindle lost connections.
Pulp’s decision to open their reunion tour setlists with “Do You Remember the First Time?” served as a powerful nod to their own history and the collective nostalgia of their audience. This choice underscored the song’s role as a touchstone for fans, many of whom associate Pulp’s music with pivotal moments in their own lives. The song, thus, transcends its initial subject matter to become a rallying cry for the band’s resurgence, inviting fans old and new to relive the magic of Pulp’s heyday.
The release of “Do You Remember the First Time?” on March 21, 1994, was accompanied by a distinctive music video featuring celebrities candidly discussing their first sexual experiences, further cementing the song’s place in pop culture. The track’s success was somewhat marred by the band’s missed opportunity to perform on “Top of the Pops,” a disappointment that nevertheless did little to halt the song’s momentum.
# 3 – Babies
Pulp’s “Babies” was released in 1992 by Gift Records and later featured on the band’s album His ‘n’ Hers, “Babies” didn’t initially chart but eventually found its acclaim, peaking at number 19 on the UK Singles Chart with its 1994 re-release as part of the Sisters EP. This track, lighter and more pop-oriented than much of Pulp’s earlier work, showcases the band’s versatility and ability to craft songs that resonate on multiple levels.
The song’s inception is as intriguing as its content, born from an impromptu guitar riff by drummer Nick Banks during a casual band session. Frontman Jarvis Cocker, inspired by the simple yet evocative chords, crafted a narrative that delves into the complexities of teenage desire and voyeurism. Set against the backdrop of Sheffield’s Stanhope Road, “Babies” recounts the story of a boy’s infatuation with his friend’s sister, leading him to hide in her wardrobe in a misguided attempt to be closer to her. The ensuing events unfold with a blend of innocence and burgeoning sexuality, encapsulated in the poignant line, “I only went with her ‘coz she looks like you.”
Cocker himself described “Babies” as a departure from the band’s previous work, marking their foray into crafting “a proper pop song.” This shift was met with positive feedback within the band, with then-outside member Mark Webber heralding it as Cocker’s best work to date. Musically, the song incorporates “new wave-y guitar and synths,” a departure from Pulp’s earlier, darker tones, and is celebrated for its catchy melody and relatable storytelling.
The song’s visual representation came through two distinct music videos, with the original directed by Cocker featuring playful sibling dynamics. This video, alongside the subsequent one produced by Island Records for The Sisters EP, contributed to the song’s lasting appeal, further cemented by its use in Pulp’s 2011/2012 reunion gigs.
Despite its initial overlook for the single release in favor of “O.U. (Gone, Gone),” “Babies” stood out to producer Simon Hinkler as the obvious choice for a single, a sentiment eventually echoed by the public and record company leading to its re-release. The song’s success on the Sisters EP, which also included “Your Sister’s Clothes,” a thematic sequel to “Babies,” marked a significant moment in Pulp’s career, showcasing their ability to blend pop sensibilities with thought-provoking lyrics.
# 2 – Disco 2000
Drawing from the disco era’s vibrant beats, the song is a nostalgic reflection on Jarvis Cocker’s youthful days and his unrequited affection for his childhood friend, Deborah Bone, who later became a symbolic figure in his lyrical narrative.
The track saw its release as a single on November 27, 1995, becoming the third single off Different Class. It enjoyed significant success, securing the number seven spot in the UK and finding its way onto charts in various other countries. The release was further bolstered by a music video directed by Pedro Romhanyi, which visually echoed the narrative laid out in the single’s sleeve artwork. Over time, “Disco 2000” has risen to prominence as one of Pulp’s most celebrated songs, earning widespread critical acclaim.
Delving into the background and lyrics, “Disco 2000” recounts the story of the narrator’s longing for his childhood friend Deborah, a girl who blossomed into popularity, leaving him in the shadows of her growing admirers. Cocker’s lyrics draw from his own life, where Deborah Bone was a real figure from his childhood in Sheffield. Despite the playful and imaginative lyrics, Cocker admits that the tales of youth and unspoken love were grounded in his real experiences, barring the embellishment of woodchip wallpaper for lyrical flair.
The song’s musical landscape is rich with disco influences, channeling the energy and stylings of the ’70s. Critics and band members alike have noted the track’s homage to the era, with its danceable beats and nods to icons like Elton John, Marc Bolan, ABBA, and the Hi-NRG vibe of Laura Brannigan’s “Gloria.”
Upon its release, “Disco 2000” not only climbed the UK charts but also gained international traction, marking a high point in Pulp’s career with its chart performance across Europe and even reaching audiences in Australia. In an interesting move, Pulp decided to restrict the song’s use in media around the turn of the millennium, withdrawing its synchronisation licence to preserve the song’s thematic integrity during the years 1999 and 2000.
# 1 – Common People
“Common People,” burst onto the scene as the lead single from their fifth studio album, Different Class, in May 1995. Climbing to the number 2 spot on the UK Singles Chart, the song became emblematic of the Britpop era and emerged as Pulp’s most iconic track. Garnering immense acclaim, it was voted the top Britpop song by BBC Radio 6 Music listeners in 2014 and secured the title of the greatest Britpop song in a 2015 Rolling Stone readers’ poll.
At its core, “Common People” serves as a satirical commentary on affluent individuals who romanticize living like “common people,” highlighting the condescending trend of “slumming” or “class tourism.” The narrative was inspired by a chance encounter Jarvis Cocker, Pulp’s frontman, had with a Greek art student at the Central Saint Martins College of Art and Design in London. The song’s memorable melody originated on a Casiotone keyboard Cocker had picked up in Notting Hill, setting the stage for this critique wrapped in catchy tunes.
The song’s reception was not just limited to its biting lyrics; its music video, featuring actress Sadie Frost, became iconic for visualizing the sarcastic take on the wealthy dabbling in the lives of the working class, with Jarvis Cocker’s delivery adding to its impact. “Common People” first made its public debut at the Reading Festival in August 1994, and by the following year, Pulp was performing it as the headline act at the Glastonbury Festival. The track’s influence stretched beyond Europe when William Shatner covered it in 2004, under the production of Ben Folds, introducing it to a broader audience.
The muse behind the song’s poignant lyrics remains a topic of intrigue and speculation. While some reports suggest Danae Stratou, the wife of former Greek finance minister Yanis Varoufakis, as the inspiration, others have claimed the title. However, Cocker has maintained a level of mystery around the true source of his inspiration, adding to the song’s lore.
Musically, “Common People” came to life when Cocker introduced the tune to his bandmates, initially receiving mixed reactions. Despite initial skepticism, the group recognized the song’s potential, especially after keyboardist Candida Doyle highlighted its strengths. Recorded with the help of veteran producer Chris Thomas, the band sought an anthemic quality for the single, employing an extensive range of instruments and tracks to achieve the desired sound. Although the final cut of the single was condensed to maintain a radio-friendly length, the album version includes additional verses that intensify the song’s climax, enriching the narrative of living like “common people.”