“In Jarvis’s book, love is a never-ending David Lynch film – songs like ‘Going Back To Find Her’ are as black as pitch. Pulp want to be as horribly compelling as a circus freak show” – Bob Stanley in the NME
We don’t have that many songs to talk about in this era – just eighteen, compared to the forty or so from the ‘Freaks’ era’, so entry into the Pulp cannon seems to be easier than it was before. In theory, this could mean that substandard material could easily have crept onto ‘Separations’, and it’s testament to the judgment of the group that it didn’t, that we have – finally! – a great album from start to finish. It was a close-run thing, though – from the ten tracks considered, nine made it, the other one being ‘Going Back To Find Her’. In an interview for ‘Truth and Beauty’ Nick Banks explained its non-inclusion.
“From what I remember it was similar to ‘Down By The River’, a sort of down-tempo, acousic-y sort of song, and you don’t want too many of them, do you? You want a bit of variety, so it was like ‘This one or that one? This one.’
On initial impressions two things come to mind – firstly that the choice between DBTR and GBTFH was so much down to the wire seems very odd indeed, DBTR being much more worked-out and finished. This is a judgment based on an unfair comparison, however – DBTR never sounded particularly impressive in a live setting, and it took Alan Smythe’s production to bring out the subtle magic of the piece. With GBTFH, early live versions are all we have.
Secondly, it seems self-evident that GBTFH and DBTR are very different sounding songs, and that ‘downtempo’ and ‘acousic-y’ are not obvious adjectives to describe the rather jaunty number from 1987 live sets. With an odd 1-2-1-2 rhythm, it occupies an otherwise-unexplored mid-ground between a Cossack march and a camp glam stomper, and is dominated by Russell’s sarcastic guitar licks and Candida’s chiming keyboard sound. The interplay between the guitar, keyboards and bass is actually quite pleasant, but for something so built around a rhythm, you can’t help but wish the bass line could be beefed up to push the whole thing along. With Steve Mackey on board for the LP sessions, this was very much possible, so once again we might not be hearing the track’s full potential here.
Where the two songs are similar is their theme. Once again we’re using grim metaphors to discuss the perils of returning to a failed relationship for one more try – we even have a line about “her house was by the river.” This time, though, he’s really just going through the motions of this compulsion. Every line describes the relationship in the most unpleasant way possible – “someone who will prop me up / and someone who I’m master of” – and when he sings “I don’t really want to find her” you can more than believe it’s true. If this issue so ‘over’, the question of ‘why bother singing about it’ tends to arise, so it’s understandable that they wouldn’t want two songs about it on the same LP – it would start to look like Jarvis doth protest too much. Choosing between the two, the backing track makes all the difference – GBTFH being a little too jolly for the somber theme.
Is Going Back To Find Her good enough to go on Separations? Truthfully, it’s hard to say. The fact that it wasn’t included on the remastered version of Separations in 2012 indicates that it was probably never demoed to completion, and for that reason it will probably continue to be consigned to the ‘nice idea, not quite finished’ file for the foreseeable future.