Pulp Magazine

I can’t deal with the excitement today.

No, not transfer deadline day, but I’m sitting at my desk thinking that a few miles south of here, in just a few short hours, I will finally get to right the wrong that was missing Pulp at Finsbury Park to celebrate my 21st birthday. As if I wouldn’t have enjoyed Pulp in the Park more than my actual party.

There again, it was a rather spectacular party, so maybe I was better off where I was. Who knows?

I was actually grateful when I realised that tonight’s Brixton Academy gig would coincide with the transfer deadline, because it means I won’t be sitting in front of Sky Sports News watching Jim White and company simultaneously orgasm as some nonenity signs for Stoke. And annoying Jo in the process. No, much better to spend the evening in the company of Jarvis Cocker and his band of merry men, even if I end up crying to Babies (and I probably will).

“Do you remember the first time?” Best ask me tomorrow.

As you may have picked up, in amongst my trip to Manchester which has left me (in)conveniently sorethroated for tonight’s gig, I picked up rather a lot of music at the weekend. I was like a talent spotter for the Arsenal with only hours left in the transfer window, in fact. In addition to the already mentioned vinyl and Ghostpoet, I bought the follow up albums to Neu! Simply titled Neu! 2 and Neu! 75 (to denote the year of release, I suppose). I like both of these albums, but with nothing standing out to me in the way that Negativland has, at least so far, I’m hard pressed to give you the highlights of either. I do write this listening to Magazine’s 1980 album The Correct Use Of Soap. Which is a cracking title, if nothing else.

As you already know, I’m something of Nick Cave and the Bad Seeds fan. And, as Barry Adamson- as well as being a rather superb solo act in his own right- was once the Bad Seeds player, I’ve been considering checking out Magazine for a while. The clincher came via Tony Wilson’s novelization of the 24 Hour Party People film and the realisation that Martin Hannett produced Correct… On the off chance you don’t know, Martin Hannett was responsible for Joy Division sounding like nothing else on the planet. Not that his talent appeared to have been appreciated by the band at the time, they felt he forsook their power in favour of spooky atmospherics. When I told Jo’s dad I was getting this album he was surprised,

“A bit jazzy for you?”

Jazzy? I wasn’t expecting that. And I wouldn’t say it is. It’s certainly different and, in fairness, not much like Joy Division either: but then, what is? Even now? That’s a lot of questions for one paragraph, so I’m going to stick my neck out and say that in some of their work, like Model Worker, I reckon that there’s something of the Buzzcocks about them. 

But, then again, founder Howard Devoto left the Buzzcocks to form Magazine, so that’s not exactly a shocker, is it?




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