Do You Remember The First Time? (His ‘n’ Hers, 1994)
Do You Remember The First Time? (music video)
Promotional interview for DYRTFT, 1994
Do You Remember The First Time? (live film, Butt Naked, 1994)
Do You Remember The First Time? (live film, Jools Holland 1994)
Do You Remember The First Time? (live film, Reading 1994)
Do You Remember The First Time? (live film, 1994)
Do You Remember The First Time? (live film, Brixton Academy, 1995)
Do You Remember The First Time? (live film, Tokyo, 1996)
Do You Remember The First Time? (live film, Munich 1996)
Do You Remember The First Time? (live film, Lorely 1998)
Do You Remember The First Time? (live film, Hootenanny 2002)
Do You Remember The First Time? (live film, Glastonbury 2011)
Do You Remember The First Time? (live film, Reading 2011)
Do You Remember The First Time? (cover by Sophie Ellis-Bextor, 2014)
Do You Remember The First Time? at Pulpwiki
If you look at the depictions of teenagers on television today, they’re selfish, avaricious, out for themselves. They’re also confident, sexy and cool and they’re really at home with sex and drugs. If you look at the portrayal of children on TV in the 70s, in something like Children of the Stones or The Changes they’re terrified of the world, they’re uncomfortable, alienated and alone, and I think that’s much truer to what it’s really like to be a teenager than what you see in Skins.” – Stewart Lee on Screenwipe
“All things have their place. First adolescent zip fumblings; first secret drug voyages; the first time you realise that after the first time, the whole process may never be as good again.” – Single of the Week in the NME.
“It’s a lot like playing the violin / You cannot start off and be Yehudi Menuhin” – Sparks, ‘Amateur Hour’
“Well do you? And why did you choose them? Was it the drink or the time of year or the position of the planets? Or was it just their hair?” – Original sleeve notes
Pulp are chiefly remembered in the wider world for a single momentarily ubiquitous hit. This, obviously, isn’t it, but it might well have a greater claim to be their theme tune all the same. When the group reformed for a reunion tour in 2011 it was Do You Remember The First Time – not Common People, Babies or Disco 2000 – that formed the theme of the teaser campaign, and which opened the set every night. This wasn’t so much a re-writing of history as an acknowledgement that the passage of time does odd things to a band’s catalogue, and that what seemed to be a song written in opposition to nostalgia could, if contextualized and given enough distance, become evocative enough to prove itself completely wrong, and therefore completely right, or vice-versa.
To open up to a wider audience with a song about nostalgia and disappointment may be an odd move, but reforming for a tour where you only play old material and using it as your introduction seems on paper nothing short of ridiculously bloody-minded. Pulp, of course, were never interested in doing things the usual way, and quite often they found that the silver lining of optimism and empathy is always clearer the more you focus on the cloud of shared disappointment. That’s universality for you, and that’s what DYRTFT is all about.
Ok, all a bit obvious now perhaps, but it certainly wasn’t in 1994, when Pulp were still relatively untested newcomers to the top 40. When a group make the leap from being a cult act to public property, it’s important to sell the concept to a much wider audience. This isn’t the same thing as “selling out” – in some ways it’s quite the reverse. Instead of selling off your fans to the highest bidder you’re opening up to everyone, going from exclusivity to inclusivity. You have to give people a glimpse of a gang they want to join, a story and a mythology to get them hooked. Every successful group have to make this leap at some point, that’s why Jarvis was always so dismissive of the early 90’s mantra of “we make music for ourselves and if anyone else likes it then its a bonus”.
It’s a hard ask, but no revolution was required – Pulp had been building up to this for a while, and there are no drastically new themes present. A dash of crap nostalgia, a helping of “I don’t like your new boyfriend’, DYRTFT is part of a clear lineage through Razzmatazz and Lipgloss, but something has clicked now and we suddenly have a much more mature take – a simpler picture in some ways, but one with a much wider perspective, near-universally relatable.
The cultural significance attached to the losing of virginity in the west is such that disappointment is inevitable. Generally speaking, nobody is expected to be good at something the first time they do it, but for some reason this particular task gets tied in to perceptions of maturity and self-esteem, and the embarrassment felt after the standard poor first-time performance is expressible only through irony and jokes. Talking honestly about this as a shared experience rather than a personal shortcoming seems to cut against English cultural norms, and surely puts paid to the odd concept of Pulp as dealers in kitsch or camp. The first time might be the worst time, sure, but it’s all uphill from there – the rest of life and love in all its joy or sadness is a great adventure to be had, or to remember for that matter.
This is, then, the most inclusive vision of the group so far, and musically it’s a larger, more generous version of what we’ve already been through – a brighter, higher resolution version of the picture. We’ve heard Pulp flirt with sounding like other 90s indie groups and it’s never tonally felt quite right because limbs had to be cut off to fit into those different shapes, and limbs are the most interesting parts, after all. For Do You Remember The First Time, Pulp are instead given a space to spread out – a big, confident sound with big confident guitars, though Pulp lack the kind of guitar hero generally responsible for such things. The model for this regimented expansiveness seems to be Suede in their glam rock anthem mode – an easy enough connection for Ed Buller, I suppose. It’s his track, in a sense, and credit is due for making it work. That swooping synth atmosphere underlying everything seemed to be the group’s sound bed for the His ‘n’ Hers tour and a radio documentary. Consequently it sounds to me like The Pulp Noise, so whatever his mis-steps elsewhere Buller can definitively be said to have made his mark on the band’s sound – though all this would be swept away by 1995, of course.
Slotting into the background more are Nick and Steve – this sort of song doesn’t need anything fancy from the rhythm section besides maintaining a steady rhythm and allowing the song to progress through the series of pulls back and releases, and they play their part well without standing out. Jarvis, on the other hand, is ridiculously on-form, by turns spitting out and whispering lines – no showboating or melodrama, just perfectly judged, and perhaps his first real star vocal performance. Something has changed, just a little, but enough to indicate that the imperial phase is almost upon us.
By 1994, the birth pangs of Britpop were well underway, as can be evidenced by a quick glance at the video for DYRTFT. It features a host of characters dressed in vaguely 70s, Pulp-ish clothes all hanging around having clumsy sexual encounters in alleyways and dingy flats while Jarvis stands nearby serenading them. Pay close attention and you might notice two future members of Menswe@r (at this point involved in a Select-constructed Camden Mod revival scene) hanging out in these scenes – apparently Chris Gentry actually lost his virginity on the video shoot. The rushing euphoria of the track is expressed by the movement of a camera on a semi-circular overhead track, constantly changing scenes by sweeping through the ground or the walls. It’s a neat idea, and it has to be said a brilliant piece of work, but the concept is taken so far as to make the viewer slightly sea-sick. Fortunately the song was also used as the basis for a short film, which we’ll be talking about in more detail next time.
The next Pulp single we’ll get to is Common People. It might seem still to be miles off, but it really isn’t. From this point onwards Pulp are a mainstream pop band, part of the now, public property, and all for the best. DYRTFT marks the start of all of this, and even if it lacks for innovation, it’s surely one of the best things they ever recorded.
Note from author: Sorry about the gap in these entries, several things have come up all at once, and I’ve found myself very busy. Entries should now continue as before – it would be a shame to stop now after all.