O.U. (Gone, Gone) (Radio Edit, Single, 1992)
O.U. (Gone, Gone) (Full version, 1992 – fan-made music video)
O.U. (Gone, Gone) (Live film, Reading 1994)
O.U. (Gone, Gone) (Live film, Pomona, California, 2012)
O.U. (Gone, Gone) at pulpwiki
…so we finally made it into orbit (good init?). But like the man said “Space is O.K. but I’d rather get my kicks down below.” One re-entry later and now it’s a choice between an extra hour in bed or stopping the love of your life from getting the next train out of town. Took too long deciding what shirt to wear and blew it. But hold on, who’s this walking out of the sun? It can’t be – but it is. Talk about leaving it till the last minute. O.U. jammy get…
Original sleeve notes
Pulp’s new record label was called Gift Records for a reason. Warp / FON owed them for videos and broken promises, Sheffield owed them for years of service… and the best kind of gift you can get someone is something they can’t get for themselves. Pulp were on their uppers, sure, but their legal problems were worse than ever, and Island weren’t going to sign a group who were still (perhaps) signed up for multiple albums on another, hostile label. They were going to pay for a recording session, however, and they were also going to let Warp put it out as a single, but the road there would continue to be rocky.
The session took place at, of course, FON, and Simon Hinkler came along to sort out the production, helped by his friend Mike Timm. In contrast to 1980s sessions, they had (some) time and space, but these advantages were immediately negated by disagreements – not only between the members of the group, but also with Hinkler and Timm. The song was new, they hadn’t rehearsed it well enough, and everyone seems to have had different ideas about exactly how the it was supposed to sound – so much so that a whole day was spent trying to get the drum sound right. Even after it was finished and remixed, the core idea of O.U. is still hard to put your finger on. Fortunately this works as a strength – it plays out as a found sound, something the group are channelling, but don’t really seem to understand themselves.
Fittingly O.U. was born the year before, not as a song, really, more a series of parts that seemed to slot together; The simple stylophone slide that formed the kernel of the piece, Candida’s two-note organ bed, the ascending chord sequence from 97 Lovers, which reminded the group of the theme tune from late-night Open University TV programs, another series of dream-like images from the moments of going to sleep and waking up, the dynamic thrust that worked so well in ‘Babies’, and of course Russell’s frantic violin solo, seemingly flown in from the climax of another gypsy folk ballad, placed haphazardly over the utterly unrelated electro-pop beneath and somehow slotting in perfectly. As a performance, it was a hard trick to pull off, and while he managed it well enough live he wasn’t able to get it right in the studio, and after a number of attempts the part was sampled and flown in.
With so many compromises and seemingly incompatible ideas present, the O.U. session might sound like something of a botch job, and so it seems to have been. While not actually bad, it wasn’t the statement to the world that it needed to be, and a remix was needed.
Ed Buller, a formerly jobbing keyboard player who was suddenly getting a lot of high-profile work, had recently finished working on Spiritualized’s ‘Lazer Guided Melodies’ – an album described by Simon Reynolds as “quiver[ing] with Apollonian attributes – airiness, fleetness, radiance, serenity… all about the exhilaration of cutting loose, of goalless propulsion…” – as apt a description as any of what O.U. (and Space and Babies) ended up as. O.U. didn’t need any great re-working or extra recording, but Buller still managed to tweak it enough that anyone can hear the group shift into the light, shimmering mode that would prove to be his (and their) trademark over the next three years.
O.U. is a jumble of many parts, but never a mess. For once, the story is fairly clear – a couple near the end of their relationship *or back together on an ill-judged rebound) bicker and fight, then go to bed angry* The next morning he wakes up to find her gone, a note on the pillow saying that she’s off to the train station, and by the way, fuck you. There’s time to throw on some clothes and sprint there, but he has just a minute to decide whether it’s better to leave it, turn over and go back to sleep instead. We’re stuck in that moment, imagining the run-lola-run pursuit, but also the doubt, the fear of being left alone, some stirrings of feeling – that moment of seemingly infinite possibility.
The best thing about O.U. is how the disparate musical elements are drawn together to evoke the desperate dash and the adrenalin rush of the moment of decision. That rhythm – always changing, always the same – pulled along by Steve’s almost inaudibly low cardio-vascular bassline, taking turns to swell anxiously, then settle down again into that persistent jog. Over this Candida’s atmospherics and the sampled violin swirl and rush. On stage these dynamics required two stylophones, and group friend and fanclub organiser Mark Webber was drafted in to fill out the sound. We will, of course, be hearing a good deal more about him later, but O.U. also marks the start of his transition to becoming a full-fledged member.
In the pre-Babies world, the single of O.U. was an exciting calling card for New Pulp, especially with the similarly exhilarating ‘Space’ on the flipside. It tied for ‘single of the week’ in Melody Maker with another Ed Buller production, Suede’s The Drowners, and received more positive coverage in the NME and even Smash Hits. An odd-sounding limited-edition single on an offshoot of a local indie label, it was inevitable that it wouldn’t be a hit, but the buzz was growing so much that you can forgive the group for sounding like they’ve got their chests puffed out, powering on towards the finish line.
* Something you should never do, of course. This scene features one of the first great 90s Pulp vignettes of crap relationships – “the night was ending / he needed her undressed / He said he loved her / She tried to look impressed ”