The summer of 1982 was warm and dry. The Falklands war was over, Wednesday had missed out on promotion to the First Division on the final day and ‘Fame’ and ‘Come On Eileen’ were at number one. Jarvis had finished school, deferred his university place, and wasn’t even working as a fishmonger any more. It’s sounds a little like ‘David’s Last Summer’ – going to parties while it’s light outside, the air humming with heat, all that. Dolly and Jamie had gone their different ways, but a new Pulp was coming together, and the possibilities of the future must have seemed endlessly exciting. This is all self-evident from the songs written at this time – Sink or Swim, Joking Aside, but most of all Looking For Life, which captures the sound as well as the feel of those days.
For the previous six months the band’s line-up had included an organ on one side of the stage and a keyboard on the other, a setup which naturally led to tunes led by a swirling whirlitzer of sound topped off with jangly early 80s indie guitar. As the autumn arrived, Jarvis and Simon began their cribbing from Leonard Cohen, and the band’s sound moved on. ‘Looking for Life’ is a hangover from that earlier time. For whatever reason it escaped the rewriting and rearranging, perhaps because it represents the best development of that sound – the organ driven by a propulsive krautrock rhythm – for the first time in Pulp’s existence, a real groove.
It’s not completely successful, of course. The band are almost, but not quite in time for the first minute or so. This is no surprise – the song has a rather everything-but-the-kitchen-sink production, and with so many musicians trying so hard to make something work, one mistake can scupper everything. It was the last song recorded in the session, but destined to be the b-side of their first single, so everyone was very keen to get their part in.
The one thing which had changed about the song was the title. Originally ‘Coming Alive’ it had later been titled ‘Looking for Love’, a name dismissed as “too poofy” by a member of the group. That was a good call – one more song about a young man’s search for love would surely have been too much to take. Instead, the vocals are handily used as a hook for the rhythm, and quite an effective one. Peter Boam also sings lead for a moment, though his lines (“Once I had, I had a vision / Brilliant white walls and lights in each corner they danced” starting from 3.13) were placed so low in the mix that it’s easy to miss them. This is down to Jarvis, who decided that they sounded like “bloody Gene Pitney.”
There’s nothing particularly special going on here, but everyone puts in enough effort to somehow make it work. All the same, they seem to be flagging after a few minutes, and the song finishes largely as a mess. Not a fitting ending for an album it was never meant to be on*, though it woud’ve worked very well if placed earlier on.
*most reissues of the ‘It’ have featured ‘Looking for Life’ as an unmentioned bonus track, taking the album’s running length over the thirty minute mark.