Pulp Intro

1. Space
2. O.U
3. Babies
4. Styloroc (Nites Of Suburbia)
5. Razzmatazz
6. Sheffield: Sex City
7. Stacks
8. Inside Susan
9. 59, Lyndhurst Grove

Masters Of The Universe

1. Little Girl (With Blue Eyes)
2. Simultaneous
3. Blue Glow
4. The Will To Power
5. Dogs Are Everywhere
6. Mark Of The Devil
7. 97 Lovers
8. Aborigine
9. Goodnight
10. They Suffocate At Night
11. Tunnel
12. Master Of The Universe (sanitised version)
13. Manon (new version)

Countdown 1992-1983

1. Countdown [Single Version, 4:42]
2. Death Goes To The Disco
3. My Legendary Girlfriend
4. Don't You Want Me Anymore?
5. She's Dead
6. Down By The River
7. I Want You
8. Being Followed Home
9. Master Of The Universe
10. Don't You Know?
11. They Suffocate At Night

1. Dogs Are Everywhere
2. Mark Of The Devil
3. 97 Lovers
4. Little Girl (With Blue Eyes)
5. Blue Glow
6. My Lighthouse
7. Wishful Thinking
8. Blue Girls
9. Countdown [Radio Edit, 8:06]

Pulp Goes To The Disco

1. Death II
2. Death Goes To The Disco
3. Countdown
4. My Legendary Girlfriend
5. Is This House?
6. This House Is Condemned
7. Countdown (Extended Version)
8. Love Is Blind
9. Mark Of The Devil
10. Master Of The Universe

Primal...
The Best Of The Fire Years 1983 - 1992

1. My Legendary Girlfriend
2. Countdown (Extended Version)
3. Death Goes To The Disco
4. Little Girl (With Blue Eyes)
5. I Want You
6. They Suffocate At Night
7. Dogs Are Everywhere
8. Don't You Know
9. She's Dead
10. Aborigine
11. Separations
12. 97 Lovers

Pulped 83-92

1. It LP
2. Freaks LP
3. Countdown LP
4. Masters Of The Universe Compilation LP

Pulp On Fire

1. My Lighthouse
2. Wishful Thinking
3. Joking Aside
4. Boats And Trains
5. Love Love
6. In Many Ways
7. Looking For Life
8. Little Girl (With Blue Eyes)
9. Simultaneous
10. Blue Glow

1. The Will To Power
2. Dogs Are Everywhere
3. The Mark Of The Devil
4. 97 Lovers
5. Aborigine
6. Goodnight
7. They Suffocate At Night
8. Tunnel
9. Master Of The Universe
10. Manon

Pulp Hits

1. Babies
2. Razzmatazz
3. Lipgloss
4. Do You Remember The First Time?
5. Common People
6. Underwear
7. Sorted For E's & Wizz
8. Disco 2000
9. Something Changed
10. Help The Aged
11. This Is Hardcore
12. A Little Soul
13. Party Hard
14. The Trees
15. Bad Cover Version
16. Sunrise
17. Last Day Of The Miners' Strike

The Peel Sessions

1. Turkey Mambo Momma (Session)
2. Please Don't Worry (Session)
3. Wishful Thinking (Session)
4. Refuse To Be Blind (Session)
5. Pink Glove (Session)
6. You're A Nightmare (Session)
7. Acrylic Afternoons (Session)
8. Underwear (Session)
9. Common People (Session)
10. Pencil Skirt (Session)
11. Sunrise (Session)
12. Weeds (Session)
13. I Love Live (Session)
14. Duck Diving (Session)

1. Theme From Peter Gunn (Live)
2. Sorted For E's & Wizz (Live)
3. Help The Aged (Live)
4. This Is Hardcore (Live)
5. Sunrise (Live)
6. Mile End (Live)
7. Do You Remember The First Time? (Live)
8. Babies (Live)
9. Weeds (Live)
10. Weeds II (The Origin Of The Species) (Live)
11. The Fear (Live)
12. The Trees (Live)
13. I Love Life (Live)
14. Party Hard (Live)
15. Common People (Live)

Sleevenotes:
Now, where do I begin? I guess it all starts one fateful night back in 1977 when I was playing with the radio dial in frustration cos I kept reading about this thing called "Punk Rock" but the local radio station in Sheffield (Radio Hallam) refused to play it. Suddenly a song leapt out at me (l was later to learn that it was by Elvis Costello) & when the song had finished I heard a voice that I was to come to know very well over the next few years. Like countless other people, I guess, the John Peel show was the place I really learnt about music. Up till then it had been a mixture of songs from my Mum's record collection that weren't too bad & chart stuff - now, suddenly, for 2 hours every week night I was exposed to so much other stuff; the Punk Rock that I'd been searching for initially, for sure, but also so much more. Listening to the show become an act of almost religious devotion for me.

Pulp started a few months after that first encounter & we would often fantasise about how great it would be if one day we could get to record a session for the show. Sometime in 1981 I decided to try & turn that fantasy into a reality; the "John Peel Roadshow" was coming to Sheffield Polytechnic & I was going to go & try to talk to the man himself! I went down to the Poly armed with a demo we'd just recorded & lurked awkwardly for the whole evening. When he'd finished playing & was walking away from the DJ-booth carrying his record boxes I seized my chance. I don't remember what I said but I do recall that he said he'd listen to our tape on the way home. I probably mumbled "Thanks" & then that was it: he was gone. I remember being kind of shocked that there wasn't a queue of other people trying to give him tapes & also that he didn't have a minder or anything. Five days later, John Walters (the producer of the Peel Show) called my Grandma's house (we didn't have our own phone at the time) & broke the news that they'd like us to come to London to record a session.

Now, to say that we were excited by this news would be a slight understatement - this was our chance to be on the show that had been forming our whole musical outlook for the last 4 years! The only show in the world, as far as we were concerned, that meant anything. & us 4 idiots, who were all still at school (I'd just had my 18th birthday - Wayne, the drummer, was 15), were going to be allowed on it! This was heaven. This really was a Dream Come True.

We travelled down to Maida Vale in a van driven by a very strange man we'd contacted via a card pinned to the Virgin Records Shop notice-board. We'd had to borrow lots of equipment from a band called 'The Naughtiest Girl Was a Monitor' cos we didn't have enough stuff of our own. The session was to be produced by Dale Griffin, who used to be the drummer in Mott the Hoople, I seem to remember that he was wearing cowboy boots. He must have taken one look at us & thought "What the fuck have I let myself in for here?". It wasn't that we were naive - it was beyond that, we just didn't have a clue what we were supposed to do. Jamie didn't understand how to work the posh bass amp he'd borrowed, Wayne didn't really know how to set his drums up, Dolly (Peter Dalton) was using his mum's ironing board as a keyboard stand & me... I was just super nervous cos I thought John Peel was going to walk in at any moment. Dale Griffin was at great pains to tell us that we should just set up & play as if we were doing a concert but we didn't really listen to him - for us this was the first time we'd ever been in a "proper" recording studio & we were determined to cram as many ideas & overdubs into the session as was humanly possible. I think the crisis point came when Wayne was attempting to get a home-made synth-drum to work that a friend of his at school had made out of a rubber burglar-alarm mat & an old electronic calculator - Dale Griffin looked at this 15 year-old kid crouching on the floor bashing what looked like a doormat with some wires coming out of it & just put his head in his hands. But to his credit, the session did get finished & now, 25 years later (ouch!), it finally gets an official release.

l'd always resisted the reissuing of this particular Peel Session before because it seemed so embarrassingly naive but now I guess it's long enough ago for me to find that charming. You can certainly tell that we'd been listening to the John Peel show fairly religiously for the past 4 years - "Turkey Mambo Momma" is one part "Gone Daddy Gone" by the Violent Femmes (we'd borrowed a xylophone from school) mixed with a bit of early Pigbag (Peter Dalton was given cornet lessons by a bloke who ended up being the lead singer in The Thompson Twins). "Refuse to be Blind" is just a blatant Joy Division rip-off (the strange van driver came back pissed to the studio as we were finishing that one & started shouting "I am a fucking Dalek!" at the point where the vocal starts going way down in pitch). "Please Don't Worry" & "Wishful Thinking" are at least a bit less derivative - the former featuring the home-made syn-drum that caused Dale Griffin so much pain (it did work in the end) & the latter being the only song from this session that made it on to our debut LP ("It" - released by Red Rhino in 1983).

As for the other sessions on these discs - my memories of them are pleasant but not as detailed as those of that first one. I do believe we hold the world record for The Longest Gap Between First & Second Sessions (12 years!) & there were times during that intervening period when I did sometimes secretly curse John Peel for encouraging me to turn my back on the straight & narrow in order to become a profoundly unsuccessful performing artist. But it all worked out in the end & now I have to say that I feel privileged, privileged to have met the man on a few occasions, to have performed before him to mark the occasion of his 40th year in broadcasting & to have even visited his house & met his family once. But the greatest privilege of all is the first one I had, all those years ago: the privilege of being introduced to music that changed my whole life by someone who made you feel somehow included in the whole process. & for that I am eternally grateful.

Jarvis Cocker
August 2006

Party Clowns - Live In London 1991

1. Space
2. Death II
3. Live On
4. Love Is Blind
5. Separations
6. Babies
7. My Legendary Girlfriend
8. Countdown