It was the sale of the century

Spurred on by serving Louise Wener from Britpop's own Sleeper at work the other day, I've been revisiting the era with a strange sense of nostalgia. Strange because at the time I didn't really like Britpop. I was into Green Day and the Foo Fighters.

Here's an episodic YouTube edit of the Britpop documentary 'Live Forever: The Rise and Fall of Britpop'. It looks pretty good.



Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Jarvis Cocker

Back in 1995 I was far too busy listening to Green Day and Foo Fighters to attempt to understand the likes of Pulp. Where were the big riffs and pounding drums? Why did they not sound American? I'd go as far as to say I hated them, from the moment I first heard Common People. But i suppose it was like my musical equivalent of a first homosexual crush. There was something there that I really liked but I didn't understand, and didn't want to like, so I hated it.

Eventually I grew up and realised I was missing out on something by being so narrow-minded. I soon understood that Jarvis' lyrics were some of the best I'd ever heard and his charisma and charm would long outshine many of his Britpop contemporaries.

Pitchfork recently interviewed Cocker here, and I suppose that's what has sparked my renewed interest. I'm not too sure about the interviewer but Jarvis says some really interesting stuff, especially about whether music still matters. A theme which he explores more fully in this article (with help from folks like Nick Cave, journalist Paul Morley and er...Beth Orton) from when he was asked to guest edit the Observer's music supplement.

Here's a video of Pulp's Glastonbury '95 zeitgeist performance that is mentioned in the Pitchfork interview.



And here's a less common selection from 'Different Class' of the same year (I love the 'Thriller'-esque spoken breakdown in the middle).

Mp3:
Pulp - 'I Spy'
Buy it