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| from Pulp, Pulp - Different Class (1995) | |||||
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| from Pulp - Different Class / Second Class (1996) | |||||
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4:39 | 
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from Pulp, Pulp - His N Hers (1994)
I never thought that you would come / your sister said your nerve had gone
You're trying to make it straight right now but I don't think that you know how Your sister knows / she wears your clothes / she laughs at all those things you chose Your sister knows / takes off your clothes we use your bed for goodness knows / Ow I left something where I knew you'd find it Lift your pillow and you'll see / and he's coming round today Hey hey / Check out if you're still alive / talking dirt won't change your life Listen hard and you can hear her saying not to be so afraid Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way na na na now now Your sister knows / she wears your clothes she laughs at all those things you chose / Your sister knows takes off your clothes / We use your bed for goodness knows I can't remember where we met / I can't remember what we said I can't forget the things we did / when everything just seemed to fit Your sister knows / takes off your clothes we use your bed for goodness knows / She's says it's better with two if you'd just stop being so stuck up / and he's coming round today Hey hey / Check out if you're still alive / talking dirt won't change your life Listen hard and you can hear her saying not to be so afraid Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way Try it; you might like it / But you might / smudge your lipstick and he's coming round today / Check out if you're still alive talking dirt won't change your life Listen hard and you can hear her saying not to be so afraid Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way It's easy when you stop pretending that you'll never ever see her, yeah you've seen her going down (and down and down and down and down) |
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3:43 |
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from Pulp, Pulp - His N Hers (1994)
I heard you take it lying down. Staring up at the ceiling
and there's a rumour, rumour around that she's been here again and that note on the shelf, she didn't even write it herself. You're not blind: you know what she's going to do. You're not blind: and who she's going to do it to. You're not blind: You can see where she's been by her eyes. You're not blind: but you'll wish that you were when you see her with me. She says she has to take a bath every time that you touch her And it really makes her laugh when you give her those eyes. Don't you know its bad for your health? All those things you do to yourself. You're not blind: you know what she's going to do. You're not blind: and who she's going to do it to. You're not blind: You can see where she's been by her eyes. You're not blind: but you'll wish that you were when you see her with me. If you've got such good taste why've you got that look on your face? There's no reason for tears 'cause this has been happening for years And it's so easy. Jesus! You're not blind: you know what she's going to do. You're not blind: and who she's going to do it to. You're not blind: You can see where she's been by her eyes. You're not blind: When you, when you see it you want to die. You're not blind You're not blind You're not blind You're not blind: but you'll wish that you were when you see her with me. |
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5:20 |
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| from Pulp, Pulp - His N Hers (1994) | |||||
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5:20 |
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| from Pulp - The John Peel Sessions (2006) | |||||
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4:28 |
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| from Pulp, Pulp - This Is Hardcore (1998) | |||||
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4:17 |
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from Pulp - Countdown 1992-1983 (1996)
When I was with this girl last night
she held me tight; it turned me on The moon was dark and those clothes were tight her perfume strong; it turned me on Fleeting moments touched in the night then so strong but banished by the light Her presence gone, memories remain of how she kissed and turned me on Now there's this love inside of me I've got this love inside of me And I still have dull aching pain desire to reach and touch you once again Distractions cannot sate the need it grows once more, it grows once more I've got this love inside of me I've got this love inside of me I've got this love inside of me I've got this love inside of me I have this pain inside of me Why can't you see? Why can't you see? I'm stranded here with no way home Please rescue me, oh won't you rescue me? I've got this love inside of me I've got this love inside of me I've got this love inside of me I've got this love inside of me. |
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from Pulp - On Fire (2001)
When I was with this girl last night
she held me tight; it turned me on The moon was dark and those clothes were tight her perfume strong; it turned me on Fleeting moments touched in the night then so strong but banished by the light Her presence gone, memories remain of how she kissed and turned me on Now there's this love inside of me I've got this love inside of me And I still have dull aching pain desire to reach and touch you once again Distractions cannot sate the need it grows once more, it grows once more I've got this love inside of me I've got this love inside of me I've got this love inside of me I've got this love inside of me I have this pain inside of me Why can't you see? Why can't you see? I'm stranded here with no way home Please rescue me, oh won't you rescue me? I've got this love inside of me I've got this love inside of me I've got this love inside of me I've got this love inside of me. |
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4:17 |
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from Pulp - The John Peel Sessions (2006)
When I was with this girl last night
she held me tight; it turned me on The moon was dark and those clothes were tight her perfume strong; it turned me on Fleeting moments touched in the night then so strong but banished by the light Her presence gone, memories remain of how she kissed and turned me on Now there's this love inside of me I've got this love inside of me And I still have dull aching pain desire to reach and touch you once again Distractions cannot sate the need it grows once more, it grows once more I've got this love inside of me I've got this love inside of me I've got this love inside of me I've got this love inside of me I have this pain inside of me Why can't you see? Why can't you see? I'm stranded here with no way home Please rescue me, oh won't you rescue me? I've got this love inside of me I've got this love inside of me I've got this love inside of me I've got this love inside of me. |
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8:18 |
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from Pulp - We Love Life (2001)
Just behind the station, before you reach the traffic island, a river runs thru' a concrete channel.
I took you there once; I think it was after the Leadmill. The water was dirty & smelt of industrialisation Little mesters coughing their lungs up & globules the colour of tomato ketchup. But it flows. Yeah, it flows. Underneath the city thru' dirty brickwork conduits Connecting white witches on the Moor with pre-raphaelites down in Broomhall. Beneath the old Trebor factory that burnt down in the early seventies. Leaving an antiquated sweet-shop smell & caverns of nougat & caramel. Nougat. Yeah, nougat & caramel. And the river flows on. Yeah, the river flows on beneath pudgy fifteen-year olds addicted to coffee whitener And it finally comes above ground again at Forge Dam: the place where we first met. I went there again for old time's sake Hoping to find the child's toy horse ride that played such a ridiculously tragic tune. It was still there - but none of the kids seemed interested in riding on it. And the cafe was still there too The same press-in plastic letters on the price list & scuffed formica-top tables. I sat as close as possible to the seat where I'd met you that autumn afternoon. And then, after what seemed like hours of thinking about it I finally took your face in my hands & I kissed you for the first time And a feeling like electricity flowed thru' my whole body. And I immediately knew that I'd entered a completely different world. And all the time, in the background, the sound of that ridiculously heartbreaking child's ride outside. At the other end of town the river flows underneath an old railway viaduct I went there with you once - except you were somebody else - And we gazed down at the sludgy brown surface of the water together. Then a passer-by told us that it used to be a local custom to jump off the viaduct into the river When coming home from the pub on a Saturday night. But that this custom had died out when someone jumped Landed too near to the riverbank Had sunk in the mud there & drowned before anyone could reach them. I don't know if he'd just made the whole story up, but there's no way you'd get me to jump off that bridge. No chance. Never in a million years. Yeah, a river flows underneath this city I'd like to go there with you now my pretty & follow it on for miles & miles, below other people's ordinary lives. Occasionally catching a glimpse of the moon, thru' man-hole covers along the route. Yeah, it's dark sometimes but if you hold my hand, I think I know the way. Oh, this is as far as we got last time But if we go just another mile we will surface surrounded by grass & trees & the fly-over that takes the cars to cities. Buds that explode at the slightest touch, nettles that sting - but not too much. I've never been past this point, what lies ahead I really could not say. I used to live just by the river, in a dis-used factory just off the Wicker The river flowed by day after day "One day" I thought, "One day I will follow it" but that day never came I moved away & lost track but tonight I am thinking about making my way back. I may find you there & float on wherever the river may take me. Wherever the river may take me. Wherever the river may take us. Wherever it wants us to go. Wherever it wants us to go. |
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5:56 |
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| from Pulp, Pulp - Different Class (1995) | |||||
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4:47 |
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from Pulp, Pulp - Different Class (1995)
As I was goin' over the Cork and Kerry mountains
I met Captain Farrell and his money he Was countin' I first produced my pistol and then produced my wager I said stand and Deliver or the devil he may take ya Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey in the jar-o I took all of his money and it was a Pretty penny I took all of his money and I brought it home to Molly She swore that She'd love me, never would she leave me But the devil take that woman 'Cause you know she Tricks me easy Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey in the jar-o Being drunk and weary I went to Molly's chamber I lay Down on the bed and I never knew the danger For about six or maybe seven in walked Captain Farrell I jumped up, grabbed hold of my pistols and I shot him with both barrels Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey In the jar-o Now some men like fishin' and some men like a fowlin' And some men like Ta hear a cannon ball a rollin' Me I like sleepin' specially in my Molly's chamber But Here I am in prison, here I am with a ball and chain yeah Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey in the jar-o Ahlalalala, Lalala... |
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4:00 |
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from Pulp - We Love Life (2001)
This is the true story of the weeds: the origin of the species.
A story of cultivation, exploitation, civilization. Found flowering on wasteland unnoticed, unofficial, accidental. A cutting was taken but weeds do not thrive under hothouse conditions & wilt when in competition with more exotic strains. A charming naivety, very short flowering season; no sooner has the first blooming begun than decay sets in. Bring your camera, take photo of life on the margins. Offer money in exchange for sex & then get a taxi home. The story has always been the same A source of wonder due to their ability to thrive on poor quality soil offering very little nourishment Drinking 'Nurishment'. But weeds must be kept under strict control or they will destroy everything in their path. Growing wild, then harvested in their prime & passed around at dinner parties. Care for some weed? So natural, so wild, so unrefined & someone's gonna make a fortune one day If only they can market this stuff right. Come on: do your dance. Come on, do your funny little dance. Germination. Plantation. Exploitation. Civilization. A sensational buzz - zzzzzz. Crop rotation. Genetic modification. The creation of expectation. Ultimate frustration. This is the story of the weeds: the origin of the species. |
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3:53 |
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from Pulp - The John Peel Sessions (2006)
This is the true story of the weeds: the origin of the species.
A story of cultivation, exploitation, civilization. Found flowering on wasteland unnoticed, unofficial, accidental. A cutting was taken but weeds do not thrive under hothouse conditions & wilt when in competition with more exotic strains. A charming naivety, very short flowering season; no sooner has the first blooming begun than decay sets in. Bring your camera, take photo of life on the margins. Offer money in exchange for sex & then get a taxi home. The story has always been the same A source of wonder due to their ability to thrive on poor quality soil offering very little nourishment Drinking 'Nurishment'. But weeds must be kept under strict control or they will destroy everything in their path. Growing wild, then harvested in their prime & passed around at dinner parties. Care for some weed? So natural, so wild, so unrefined & someone's gonna make a fortune one day If only they can market this stuff right. Come on: do your dance. Come on, do your funny little dance. Germination. Plantation. Exploitation. Civilization. A sensational buzz - zzzzzz. Crop rotation. Genetic modification. The creation of expectation. Ultimate frustration. This is the story of the weeds: the origin of the species. |
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from Pulp - We Love Life (2001)
This is the true story of the weeds
the origin of the species. A story of cultivation, exploitation, civilization. Found flowering on wasteland unnoticed, unofficial, accidental. A cutting was taken but weeds do not thrive under hothouse conditions & wilt when in competition with more exotic strains. A charming naivety, very short flowering season; no sooner has the first blooming begun than decay sets in. Bring your camera, take photo of life on the margins. Offer money in exchange for sex & then get a taxi home. The story has always been the same A source of wonder due to their ability to thrive on poor quality soil offering very little nourishment Drinking 'Nurishment'. But weeds must be kept under strict control or they will destroy everything in their path. Growing wild, then harvested in their prime & passed around at dinner parties. Care for some weed? So natural, so wild, so unrefined & someone's gonna make a fortune one day If only they can market this stuff right. Come on: do your dance. Come on, do your funny little dance. Germination. Plantation. Exploitation. Civilization. A sensational buzz - zzzzzz. Crop rotation. Genetic modification. The creation of expectation. Ultimate frustration. This is the story of the weeds the origin of the species. |
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3:42 |
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from Pulp - We Love Life (2001)
We came across the North Sea with our carriers on our knees
Wound up in some holding camp somewhere outside Leeds. Because we do not care to fight, my friends - we are the weeds. Because we got no homes they call us smelly refugees. Ah. We are weeds, vegetation, dense undergrowth. Thru' cracks in the pavement: there weeds will grow - the places you don't go. This cut-price dairy produce that turns our bones to dust. You want some entertainment? Go on, shove it up me - if you must. Make believe you're so turned on by planting trees & shrubs But you come round to visit us when you fancy booze 'n' drugs. Ah. We are weeds, vegetation, etc. If you think it's a crime We'd like to get you out of your mind. It's just a matter of time, yeah We'd like to get you out of your mind. Gonna cut you down in your prime, yeah We'd like to get you out of your mind. For a little time: for all time. Weed. |
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3:44 |
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from Pulp - The John Peel Sessions (2006)
We came across the North Sea with our carriers on our knees
Wound up in some holding camp somewhere outside Leeds. Because we do not care to fight, my friends - we are the weeds. Because we got no homes they call us smelly refugees. Ah. We are weeds, vegetation, dense undergrowth. Thru' cracks in the pavement: there weeds will grow - the places you don't go. This cut-price dairy produce that turns our bones to dust. You want some entertainment? Go on, shove it up me - if you must. Make believe you're so turned on by planting trees & shrubs But you come round to visit us when you fancy booze 'n' drugs. Ah. We are weeds, vegetation, etc. If you think it's a crime We'd like to get you out of your mind. It's just a matter of time, yeah We'd like to get you out of your mind. Gonna cut you down in your prime, yeah We'd like to get you out of your mind. For a little time: for all time. Weed. |
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3:45 |
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from Pulp - The John Peel Sessions (2006)
We came across the North Sea with our carriers on our knees
Wound up in some holding camp somewhere outside Leeds. Because we do not care to fight, my friends - we are the weeds. Because we got no homes they call us smelly refugees. Ah. We are weeds, vegetation, dense undergrowth. Thru' cracks in the pavement: there weeds will grow - the places you don't go. This cut-price dairy produce that turns our bones to dust. You want some entertainment? Go on, shove it up me - if you must. Make believe you're so turned on by planting trees & shrubs But you come round to visit us when you fancy booze 'n' drugs. Ah. We are weeds, vegetation, etc. If you think it's a crime We'd like to get you out of your mind. It's just a matter of time, yeah We'd like to get you out of your mind. Gonna cut you down in your prime, yeah We'd like to get you out of your mind. For a little time: for all time. Weed. |
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3:50 |
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from Pulp, Pulp - Different Class (1995)
We have made a choice - no we don't want to die
We want to look the future firmly in the eye Speaking personally I have to say that I would like to dance again Yeah, we know that 99% is crap But we're the other 1% What you gonna do about that? We want something to happen We want it to come fast We want to dance again Oh, we can dance again Take a chance again If you can make it outdoors You can do it once more It's all right again And if you hold me tight I might just stay the night And we'll forget where we've been All the crap we have seen It's all right again All right again All right Can you believe that it was only yesterday That there was nothing going on - nothing to play We don't want trouble - no We only want to say: We'd like to dance again So although it doesn't mean a single thing Oh well, it might just make us laugh and it might just make us sing and it might help us forget that we don't know where we're going if we dance again Dance again Oh yeah Oh, we can dance again Take a chance again If you can make it outdoors You can do it once more It's all right again And if you hold me tight I might just stay the night We'll forget where we've been All the crap we have seen It's all right again Alright again Alright La la la la Oh, it's okay Oh, it's not the end of the world It's just some boys and some girls making fools of themselves Everybody's singing! We can dance again Take a chance again If you can make it outdoors You can do it once more It's all right again And if you hold me tight I might just stay the night We'll forget where we've been All the crap we have seen It's all right again All right again All right Oh, we can dance again Hold my hand Yeah it's all right Your hair is beautiful, yeah Ooh ooh ooh ooh Oh yeah, we can dance again Hold my hand Yeah it's all right Your hair is beautiful, yeah Ooh ooh ooh ooh La la la la la la |
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3:14 |
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from Velvet Goldmine (벨벳 골드 마인) by Carter Burwell [ost] (1999)
We are the boys
and we are a class act we're getting trashed So make some noise We are the boys We are the lads We're street wit swags We need their fags We got no choice We are the boys We are the boys and we don't ask why because we're alive we are the boys We are the boys We're in the place so shut your face you've got no choice We are the boys We are the guys we're getting high while you're getting by so just make some noise We are the boys and we don't ask why 'cause we're always right because we're alive and we are the boys We are the boys and don't look now 'cause we're coming down to make new noise 'cause we are the boys Now we are the men and that was then it won't happen again but we had no choice 'cause we were the boys we were the boys but we're not anymore no now we're so mature now we've got it short because we're not so sure no we're not so sure we're not so sure that's for sure not so sure not so sure as we were when we were the boys we were the boys we were the boys c'mon, we're still the boys |
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3:12 |
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from Pulp, Pulp - This Is Hardcore (1998)
We are the boyz
And we are class act Getting trashed so make some noise We are the boyz We are the lads We sleep with slags We nick their fags We got no choice We are the boyz Oh we are the boyz And we don't ask why Because we're alive We are the boyz We are the boyz We're in the place So shut your face You got no choice We are the boyz We are the guys We're getting high While you're getting by So make some noise Cos we are the boyz We are the boyz And we don't ask why Cos we're always right Because we're alive Oh we are the boyz We are the boyz And don't look now Cos we're coming down Don't make no noise Cos we are the boyz Now we are the men And always been It won't happen again But we have no choice Cos we're the boyz Oh we were the boyz But we're not anymore No, now we're so mature Now we've cut it short Because we're not so sure No, we're not so sure Oh no, we're not so sure Not so sure Not so sure as we were Oh we were the boyz We were the boyz Oh we were the boyz Come on We're still the boyz Oh we're still the boyz Oh we're still the boyz Oh come on we are the boyz Oh we are the boyz Oh we are the boyz |
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3:03 |
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from Pulp, Pulp - His N Hers (1994)
Watching Nicky turn from a girl into a wife is like watching all the life drain out of Nicky.
Seventeen last June, thirty-four this May. What else can I say about you, Nicky? Oh no she's not painting any more. Spends the evenings locked indoors, and now, something's just not going right for Nicky. Oh yeah. Her mother said she'd mind the kid, and when it came she never did. Now you're not smiling anymore, no Nicky. Oh no no no no no no Nicky. I remember we went out and got stuck under a bridge. The kids were throwing stones at me and Nicky. If I could see her now, I'd shout across and say, "Hey Nicky - run away, do it now Nicky." Because she's not painting any more. She spends her evenings locked indoors, and now, something's just not going right for Nicky. Oh yeah. Her mother said she'd mind the kid, but when it came she never did. Now you're not smiling anymore, no Nicky. Oh no no no no no no Nicky. Oh Nicky. Oh Nicky. Nicky. Mamamamamamamamamama.... Oh she's not painting any more. Spends the evenings locked indoors, and now, something's just not going right for Nicky. Yeah yeah yeah yeah yeah yeah Nicky. Ma ma ma ma ma ma Nicky. Oh whoa whoa whoa whoa oh Nicky. Ma ma ma ma ma ma Nicky. Oh yeah yeah yeah yeah. Nicky. |
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4:06 |
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from Pulp, Pulp - Different Class (1995)
Why don't you shut the door,
and close the curtains, cos you're not going anywhere. He's coming up the stairs, and in a moment he'll want to see your underwear. You couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here. Semi-naked in somebody else's room. I'd give my whole life to see it. Just you, stood there, only in your underwear. If fashion is your trade, then when you're naked, I guess you must be unemployed yeah. Cos once it's underway, there's no escaping, the fact that you're a girl and he's a boy. You couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here. Semi-naked in somebody else's room. I'd give my whole life to see it. Just you, stood there, only in your underwear. If you close your eyes and just remember, that this is what you wanted last night. So why is it so hard for you to touch him. For you to go and give yourself to him? I couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here, semi-naked in somebody else's room. I'd give my whole life to see it. Just you, stood there, only in your underwear. Do, do do do do. Do, do. Do, do. Do, do, do, do, do. Do, do. Do, do. Oh yeh, I want to see you. Want to see you only in your underwear. |
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from Pulp - Different Class / Second Class (1996)
Why don't you close the door and shut the curtains
'cos you're not going anywhere. He's coming up the stairs and in a moment he'll want to see your underwear. You couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here. Semi-naked in somebody else's room. I'd give my whole life to see it. Just you stood there only in your underwear. If fashion is your trade then when you're naked I guess you must be unemployed yeah. Cos once it's underway there's no escaping the fact that you're a girl and he's a boy. You couldn't stop it now. There's no way to get out. He's standing much too near. How the hell did you get here. Semi-naked in someone else's room. I'd give my whole life to see it. Just you stood there only in your underwear. If you close your eyes and just remember that this is what you wanted last night. So why is it so hard for you to touch him. For you to go and give yourself to him? I couldn't stop it now. There's no way to get out. He's standing much too near and how the hell did you get here Semi-naked in somebody else's room. I'd give my whole life to see it. Just you stood there only in your underwear. Do, do do do do. Do, do. Do, do. Do, do, do, do, do. Do, do. Do, do. Oh yeh I want to see you. Want to see you only in your underwear. Har. |
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4:11 |
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from Pulp - The John Peel Sessions (2006)
Why don't you close the door and shut the curtains
'cos you're not going anywhere. He's coming up the stairs and in a moment he'll want to see your underwear. You couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here. Semi-naked in somebody else's room. I'd give my whole life to see it. Just you stood there only in your underwear. If fashion is your trade then when you're naked I guess you must be unemployed yeah. Cos once it's underway there's no escaping the fact that you're a girl and he's a boy. You couldn't stop it now. There's no way to get out. He's standing much too near. How the hell did you get here. Semi-naked in someone else's room. I'd give my whole life to see it. Just you stood there only in your underwear. If you close your eyes and just remember that this is what you wanted last night. So why is it so hard for you to touch him. For you to go and give yourself to him? I couldn't stop it now. There's no way to get out. He's standing much too near and how the hell did you get here Semi-naked in somebody else's room. I'd give my whole life to see it. Just you stood there only in your underwear. Do, do do do do. Do, do. Do, do. Do, do, do, do, do. Do, do. Do, do. Oh yeh I want to see you. Want to see you only in your underwear. Har. |
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3:23 |
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from Pulp, Pulp - This Is Hardcore (1998)
Without you my life has become a hangover without end.
A movie made for TV: bad dialogue, bad acting, no interest. Too long with no story & no sex. Is it a kind of weakness to miss someone so much? To wish the day would go away? Like you did yesterday. Just like you did yesterday. & I can't think of a way to get through this pain: To be happy again to make it all alright & I know it must be bad 'cos sitting here right now, all I know is I can't even think, I can't even think of anything clever to say, to say So I say why pretend any longer? 'Cos I need you here with me. It's obvious that I miss you so much so please say you're gonna stay. So please say you're gonna stay. So please say you're gonna stay. The night is getting darker now and there's nothing on TV but I'll sit tight 'til morning light. Yeah, I'll wait until the day. Until the day that you say you're gonna stay. |
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2:54 |
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| from Pulp - The John Peel Sessions (2006) | |||||
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from Pulp - On Fire (2001)
The tenth of July, 1985
Don't ask stupid questions I had nothing to do I was bored I had, I had not Fifteen weeks since the light has gone Fifteen weeks with the same shirt on A thousand bodies stink and sweat and somebody's trying to roll a cigarette Clean mister Clean mister Clean missed her Just relax and enjoy it, it's nothing really. Let's get you out of these damp clothes, just lift yourself up, get thous dreadful trousers off. You'll feel so much better afterwards. Just close your eyes and let it ooze all over you. Trickling down your back warm and sticky. Isn't that nice? No don't speak, just let yourself go, sink, sinking down deeper and deeper and deeper. At 3 o'clock that morning I awoke in an unfamiliar room in my hands like sodden paper a thick, glutinous pale green liquid sunlight through net curtains 6,000 miles an hour into brilliant white light. There's a brass band playing somewhere. Roll on your back and wait for the talbum. But what's that? Pull back the linen sheets to find the shirt they peeled off your back only two hours before the bed tips sideways. No and to one day wake up in green fields with the sky blue above me. And to be clean again. But I know I'll never be clean again. |
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4:51 |
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from Pulp, Pulp - This Is Hardcore (1998)
Tomorrow never lies so live for today
Don't be afraid of the skeletons of yesterday Each morning brings you closer to your goal so grab your chance don't let it go The city streets are littered with the casualties the could'ves and the should'ves and the would've beens Don't let this chance slip by / Because tomorrow never lies Tomorrow never lies if you live tomorrow today There are those who would shoot you down / ah there's always someone wants to shoot you down but you know they're never gonna be able to shoot you down if you live tomorrow today / if you live tomorrow today The night time blazes with all your nightmares come to life But you can face the danger knowing that your cause is right and leave them all below you / bleeding as you rise into the night Because you know tomorrow never lies / no, tomorrow never lies no, it's never, never gonna lie if you leve tomorrow today There are those who would shoot you down / ah there's always someone who wants to shoot you down but they're never ever gonna be able to shoot you down if you live tomorrow today / yeah if you leve tomorrow today Cos you, you gotta live tomorrow today / Live it because tomorrow never lies tomorrow never lies / oh no. |
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6:24 |
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from Pulp, Pulp - This Is Hardcore (1998)
you are hardcore you make e hard you name the drama and
I'll play the part it seems I saw you in some teenage wet dream I like your get up if you know what i mean I want it bad I want it now |
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2:06 |
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from Pulp, Pulp - This Is Hardcore (1998)
You are hardcore, you make me hard. You name the drama and I'll play the part. It seems I saw you in some teenage wet dream. I like your get up if you know what I mean. I want it bad. I want it now. Oh can't you see I'm ready now. I've seen all the pictures, I've studied them forever. I wanna make a movie so let's star in it together. Don't make a move 'til I say, "Action." Oh, here comes the Hardcore life. Put your money where your mouth is tonight. Leave your make-up on & I'll leave on the light. Come over here babe & talk in the mic. Oh yeah I hear you now. It's gonna be one hell of a night. You can't be a spectator. Oh no. You got to take these dreams & make them whole. Oh this is Hardcore - there is no way back for you. Oh this is Hardcore -this is me on top of you & I can't believe that it took me this long. That it took me this long. This is the eye of the storm. It's what men in stained raincoats pay for but in here it is pure. Yeah. This is the end of the line. I've seen the storyline played out so many times before. Oh that goes in there. Then that goes in there. Then that goes in there. Then that goes in there. & then it's over. Oh, what a hell of a show but what I want to know: what exactly do you do for an encore? 'Cos this is Hardcore.
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7:06 |
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from Pulp - The John Peel Sessions (2006)
You are hardcore, you make me hard. You name the drama and I'll play the part. It seems I saw you in some teenage wet dream. I like your get up if you know what I mean. I want it bad. I want it now. Oh can't you see I'm ready now. I've seen all the pictures, I've studied them forever. I wanna make a movie so let's star in it together. Don't make a move 'til I say, "Action." Oh, here comes the Hardcore life. Put your money where your mouth is tonight. Leave your make-up on & I'll leave on the light. Come over here babe & talk in the mic. Oh yeah I hear you now. It's gonna be one hell of a night. You can't be a spectator. Oh no. You got to take these dreams & make them whole. Oh this is Hardcore - there is no way back for you. Oh this is Hardcore -this is me on top of you & I can't believe that it took me this long. That it took me this long. This is the eye of the storm. It's what men in stained raincoats pay for but in here it is pure. Yeah. This is the end of the line. I've seen the storyline played out so many times before. Oh that goes in there. Then that goes in there. Then that goes in there. Then that goes in there. & then it's over. Oh, what a hell of a show but what I want to know: what exactly do you do for an encore? 'Cos this is Hardcore.
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from Pulp - On Fire (2001)
His body loved her
his mind was set on other things Keep your face out of sight and your thoughts to yourself And this went on for several nights festering in silence, growing in the dark and this they saw as love Love So sad to see They suffocate at night Oh this they saw as love Love So sad to see to see it slowly die She met his wishes he found that he had changed his mind Now the fit is too tight and the bedroom too warm The days are filled with things to do Night-time lies so hollow and memories betray Oh memories of love Love So sad to see They suffocate at night Those memories of love Love So sad to see to see it slowly die Two years have passed two years of emptiness inside and the grey skies above just show how far I went wrong I wonder if she's living there the way that I recall the way I'll always think of you And when I think of you I think of love Love So sad to see They suffocate at night You know I think of love Love So sad to see to see it slowly die I wrote you a letter I threw it away I wrote you a letter I threw it away I need her I know I don't need her I need her Oh Oh-oh |
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from Pulp - Freaks (1986)
His body loved her
his mind was set on other things Keep your face out of sight and your thoughts to yourself And this went on for several nights festering in silence, growing in the dark and this they saw as love Love So sad to see They suffocate at night Oh this they saw as love Love So sad to see to see it slowly die She met his wishes he found that he had changed his mind Now the fit is too tight and the bedroom too warm The days are filled with things to do Night-time lies so hollow and memories betray Oh memories of love Love So sad to see They suffocate at night Those memories of love Love So sad to see to see it slowly die Two years have passed two years of emptiness inside and the grey skies above just show how far I went wrong I wonder if she's living there the way that I recall the way I'll always think of you And when I think of you I think of love Love So sad to see They suffocate at night You know I think of love Love So sad to see to see it slowly die I wrote you a letter I threw it away I wrote you a letter I threw it away I need her I know I don't need her I need her Oh Oh-oh |
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6:17 |
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from Pulp - Countdown 1992-1983 (1996)
His body loved her
his mind was set on other things Keep your face out of sight and your thoughts to yourself And this went on for several nights festering in silence, growing in the dark and this they saw as love Love So sad to see They suffocate at night Oh this they saw as love Love So sad to see to see it slowly die She met his wishes he found that he had changed his mind Now the fit is too tight and the bedroom too warm The days are filled with things to do Night-time lies so hollow and memories betray Oh memories of love Love So sad to see They suffocate at night Those memories of love Love So sad to see to see it slowly die Two years have passed two years of emptiness inside and the grey skies above just show how far I went wrong I wonder if she's living there the way that I recall the way I'll always think of you And when I think of you I think of love Love So sad to see They suffocate at night You know I think of love Love So sad to see to see it slowly die I wrote you a letter I threw it away I wrote you a letter I threw it away I need her I know I don't need her I need her Oh Oh-oh |
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from Pulp - Primal/ The Best Of The Fire Years (2005)
His body loved her
his mind was set on other things Keep your face out of sight and your thoughts to yourself And this went on for several nights festering in silence, growing in the dark and this they saw as love Love So sad to see They suffocate at night Oh this they saw as love Love So sad to see to see it slowly die She met his wishes he found that he had changed his mind Now the fit is too tight and the bedroom too warm The days are filled with things to do Night-time lies so hollow and memories betray Oh memories of love Love So sad to see They suffocate at night Those memories of love Love So sad to see to see it slowly die Two years have passed two years of emptiness inside and the grey skies above just show how far I went wrong I wonder if she's living there the way that I recall the way I'll always think of you And when I think of you I think of love Love So sad to see They suffocate at night You know I think of love Love So sad to see to see it slowly die I wrote you a letter I threw it away I wrote you a letter I threw it away I need her I know I don't need her I need her Oh Oh-oh |
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4:06 |
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from Pulp - On Fire (2001)
Walking from the scene of some humiliation feeling like a dog.
Walking from the scene of some romantic triumph feeling like God. Walk towards the small town lights, felt brighter than the lot of them, can have anything, can never fail. The will to power, the force of destiny and efficiency. Generations glimpse the high pitch, play it for real, four billion spectators look on; judging, analysing, losing; sinking, swimming, striving, longing, failing. Weak flesh projected through Europe on speed of all the needs; suck and sate, forces of fate. A polemic, a sharp cutter, a fashion, a spirit, a simplicity. The only choice, the only voice, in the darkness. The only choice, the only voice. 1933, where are you now? Where are the broken bottles? Where's the toffs slumming it? Where's the fanaticism? Where's truth and beauty? Walk towards the small town lights, felt brighter than the lot of them, can have anything, can never fail. The will to power, the force of destiny and efficiency. Generations glimpse the high pitch, play it for real, four billion spectators look on; judging, analysing, losing; sinking, swimming, striving, longing, failing. Weak flesh projected through Europe on speed of all the needs; suck and sate, forces of fate. A polemic, a sharp cutter, a fashion, a spirit, a simplicity. The only choice, the only voice, in the darkness. The only choice, the only voice. 1933, where are you now? Where are the broken bottles? Where's the fanaticism? Where's truth and beauty? Where's truth and beauty? |
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from Pulp - The Trees [single] (2001)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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from Pulp - The Trees [single] (2001)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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4:49 |
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from Pulp - We Love Life (2001)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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4:43 |
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from Pulp - The John Peel Sessions (2006)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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5:10 |
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from Pulp, Pulp - This Is Hardcore (1998)
Oh I'm back in the full effect / I can't even hold myself erect
I got nothing that I wanna say / I'm gonna say it anyway I know you think that I've lost it, baby I know you think that my star is fading / Used to be a contender Now you're just a pretender / Psychic karaoke every weekend You don't fit those clothes anymore Why don't you take them back to the charity store While you're there you could always hand yourself in You're into green issues - start recycling You hide behind your woman when you're out in your town Show her up and blame her for holding you down Holding you down, holding you down You're the only one who's holding you down You're only ever polite when you're out of your box Cocker's short for... sucker / Sucker of... / Oh, oh La na na na / Oh, oh / Sucker of... / Oh, oh / La na na na Oh, oh / When I got up today I had that feeling again Everything was OK, then the world started shaking Now I'm trying to sleep it away / Oh but I can't sleep it away Can you answer this question, can you answer it right: Have you ever done anything good in your life? Have you ever done anything that wasn't just for yourself? Are you capable of giving? / Are you capable of giving just for the sake of it, without expecting anything in return? I'm only trying to give you what you've come to expect Just another song 'bout single mothers and sex Single mothers and sex, single mothers and sex Just another song 'bout single mothers and sex OK, you've heard it before, it's nothing special But it's a living, can't you see / I'm a professional Oh, oh / La na na na / Oh, oh / I'm a professional Oh, oh / La na na na / Oh, oh / Sleep on my darling Sleep on, don't wake as I leave / I've been rehearsing this scene so long now Don't interrupt me as I do it for real / The bedroom floor is treacherous A teacup could be disastrous / 'Cos it'll mean I would have to say What was written on the letter I posted yesterday So that it would get here / When I was gone / And you awoke Oh, she'll meet me from the train / And she'll never know a thing About how I talk with my mouth full / And only bath once a week How I'm nicer the first time you meet me than the next And I'm rapidly losing interest in sex / Yeah, I'm rapidly losing interest in sex What's the point in making it over-emotional? / You can do it the hard way Or you can be a professional / Oh, oh / La na na na Oh, oh / I'm a professional / Oh, oh / La na na na Oh, oh / Sleep on my darling / Sleep on my love / Sleep on my darling Sleep on my love / Sleep on my darling / Sleep on my love Sleep on my darling / Sleep on my love |
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4:38 |
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from Pulp - We Love Life (2001)
There's a light that shines on everything & everyone.
And it shines so bright - brighter even than the sun. That's what Minnie thinks as she walks to meet her brother, who is nearly two years older, on a Saturday night. He's DJ-ing at some do on the edge of town on the night that Minnie Timperley died. It's such a beautiful world, you're such a beautiful girl. So much that you want to try, the world wants to sleep with you tonight. But Minnie, Minnie if I could I would give you the rest of my life. How can a girl have sex with these pathetic teenage wrecks? Football scarves, the girls drink halves & her brother's crying 'cos he has lost his decks. Outside the air was cool, an older guy sitting in his car asked if Minnie needed a ride. He thought he was still dangerous - paunchy, but dangerous - on the night that Minnie Timperley died. It's such a beautiful world, you're such a beautiful girl. And he only did what he did 'cos you looked like one of his kids. But Minnie, Minnie if I could I would give you the rest of my life. Minnie. Oh, Minnie I can feel the pain. Oh yeah |
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from Pulp - Freaks (1986)
When all should be done and gone,
he comes round again to see, he can't keep himself away. He touches her hand and it starts again. His work is an ugly mess. He prods and it cries in pain. He kicks and it starts to scream. He hurries away when she cannot see. When all should be done and gone, he comes round again to see, he can't keep himself away. he touches her hand and it starts again. Moving so slowly, droplets of kindness that poison and choke when this thing should have died long ago. The entrails are soft and warm, this time it must be the end. One touch and it lives again. He keeps it alive to be part of its pain and that's mercy. And that's compassion. And that's being good friends in a crisis. What's one corpse between friends? Oh oh-oh-oh... Leave it, boy. Just leave it alone. Stop scratching, or it'll never heal. Just let it lie in peace. Get out of the way, get out of the way, the brakes cannot last for long. He knows he must let it go, he knows but he keeps a hold. He touches her hand and it starts again. Ah! Ah! Ah! Moving so slowly, he drops it so gently, urging its life to a peak to torment it again! |
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4:34 |
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from Pulp - Countdown 1992-1983 (1996)
The mark of the devil is upon you
Your look is no happier than mine Damnation is waiting in the mirror but you shouldn't mind Their legs start a feeling in your stomach Their eyes knock you backwards with a glance Your pride sinks unnoticed in the river given half a chance And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old but you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold Smiles left unfollowed start to haunt you Chances that perished long ago The devil is waiting in the bathroom with your worthless soul The years pull their weight down on your cheekbones the nights out are hanging from your waist The years float like dust held in the sunlight with an aftertaste And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old but you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold La la lala lala la la... And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old and you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old and you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold La la lala... Oh... |
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from Pulp - On Fire (2001)
The mark of the devil is upon you
Your look is no happier than mine Damnation is waiting in the mirror but you shouldn't mind Their legs start a feeling in your stomach Their eyes knock you backwards with a glance Your pride sinks unnoticed in the river given half a chance And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old but you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold Smiles left unfollowed start to haunt you Chances that perished long ago The devil is waiting in the bathroom with your worthless soul The years pull their weight down on your cheekbones the nights out are hanging from your waist The years float like dust held in the sunlight with an aftertaste And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old but you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold La la lala lala la la... And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old and you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold And your past is just a bedroom full of implements of cruelty and a list will bind your eyes as you grow old and you want to join the laughter sharing simple shreds of feeling but you fidget and your heart is growing cold La la lala... Oh... |
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5:40 |
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from Pulp, Pulp - This Is Hardcore (1998)
This is our Music from a Bachelors Den
the sound for loneliness turned up to ten A horror soundtrack from a stagnant water bed and it sounds just like this this is the sound of someone losing the plot making out that they're okay when they're not you're gonna alike it but not a lot and the chorus goes like this Oh baby here comes the fear again The end is near again A monkey's bulit a house on your back You can't get anyone to come in the sack and here comes another panic attack Oh here we go again so now you know the words to our song, pretty soon you'll all be sing along When you're sad when you're lonely and it all turns out wrong When you've got the fear and when you're no longer searching for beauty or love just some kind of life with the edges taken off When you cann't even define what it is that you are frightened of this song will be here Oh baby here comes the fear again The end is near again If you ever get that chimp off your back if you ever find the thaing that you lack but you know you're only having a laugh and here we go again. Until the end |
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5:24 |
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from Pulp - The John Peel Sessions (2006)
This is our Music from A Bachelors Den
- the sound of loneliness turned up to ten. A horror soundtrack from a stagnant water-bed & it sounds just like this. This is the sound of someone losing the plot - making out that they're okay when they're not. You're gonna like it, but not a lot & the chorus goes like this: Oh Baby, here comes the fear again. The end is near again. A monkey's built a house on your back. You can't get anyone to come in the sack & here comes another panic attack. Oh here we go again. So now you know the words to our song, pretty soon you'll all be singing along. When you're sad, when you're lonely & it all turns out wrong. When you've got the fear. & when you're no longer searching for beauty or love - just some kind of life with the edges taken off. When you can't even define what it is that you are frightened of this song will be here. Oh Baby, here comes the fear again. The end is near again. If you ever get that chimp off your back. If you ever find the thing that you lack but you know you're only having a laugh & here we go again. Until the end Until the end |
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14:56 |
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from Pulp, Pulp - This Is Hardcore (1998)
The dust has settled,
replaced the bulbs in all the lights. I guess I'll get no sleep tonight. A revolution happened. Oh, sorry you haven't heard? We are the children of the new world. If you're quiet you can watch if you like. They say the future's beginning tonight. Whole empires will crumble. Civilisations will fall. Lie on the bed, hear the sound of it all. No anger, no guilt & no sorrow: it sounds unlikely, I know, but tomorrow you will wake up to find that your whole life has changed. Although nothing looks different a revolution took place. I love the way you do it, I love the way you put them on. You know the answers but you get it wrong. (Just to confuse things). Why did it seem so difficult to realise a simple truth? The revolution begins & ends with you. Now all the breakdowns & nightmares look small. Now we decided not to die after all. Because the meek shall inherit absolutely nothing at all. If you stopped being so feeble you could have so much more. The answer was here |
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2:37 |
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from Pulp, Pulp - His N Hers (1994)
Wearing a shirt that was trying too hard,
Pissed on a train and he's falling around. And then I turned around and you were out of sight, And now there's nowhere for me to stay tonite. And then I walked around town just to catch you out, I thought I'd lost myself somewhere in the nite. Oh is he bigger? and does he make you laugh? Mamamamamamamamamamamamamamamama let it go. I could never do anything else, So what am I gonna do with myself? I saw him kiss you in the afternoon Cos I was next door in a double room. I was listening through the wall as he laid you down. I don't know what you did, Oh but I heard the sound. Oh is he better? Does he make you scream? Mamamamamamamamamamamamamamamama let it go. You've got to tell me know if he's better than me. I need to know, oh can't you see? Something strange is getting stronger. I can't hang on any longer. Don't you know I want to go away? Oh jesus christ I know I'm gonna lose the game, I've only got myself to blame, oh yeah. Oh yeah. All right. I'm gonna leave town, I'm gonna catch a train. I'm going somewhere where I can start again. I'm gonna let it all go just like you said, I'll look for someone else who can take the blame. And is he younger? And can he make you laugh? Mamamamamamamamamamamamamamamama let it go. Oh, let it go. After seven years down a dead-end road I'm gonna get off here, I'm gonna let it go, Let it go. |
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from Pulp - We Love Life (2001)
It's six o'clock, the birds are singing.
I'm wide awake whilst you're still fast asleep. I went outside, into your garden. The sun was bright & the air was cool And as I stood there listening Well the birds in your garden they all started singing this song "Take her now. Don't be scared, it's alright. Oh, come on, touch her inside. It's a crime against nature she's been waiting all night. Come on, hold her, & kiss her & tell her you care If you wait 'til tomorrow she'll no longer be there. Come on & give it to her. You know it's now or never." Yeah, the birds in your garden have all started singing this song. My father never told me about the birds & the bees. And I guess I never realised that I would ever meet birds as beautiful as these. I came inside, climbed to your bedroom. I kissed your eyes awake & then I did what I knew was only natural. And then the birds in your garden, they all started singing this song "Take her now. Don't be scared, it's alright. Oh, come on, touch her inside. It's a crime against nature she's been waiting all night. Come on, hold her, kiss her & tell her you care If you wait 'til tomorrow she'll no longer be there. Come on & give it to her. You know it's now or never." Yeah, the birds in your garden have all started singing this song. Yeah, the birds in your garden, they taught me the words to this song. |
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4:59 |
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from Pulp, Pulp - His N Hers (1994)
Susan's babysitter / is seventeen years old / oh she looks like Susan
when she still lived at home / She's a lovely girl She's got long black hair / if you go home now / she might still be there Susan's babysitter / is twenty-one years old / she still looks like Susan when Susan was not at home She's a lovely girl / she's got long blonde hair / if you go home now she will not be there / 'cos she left last June She came home too soon / You were both upstairs / in your daughter's room She's a lovely girl. |
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from Pulp, Pulp - Different Class (1995)
Susan's babysitter / is seventeen years old / oh she looks like Susan
when she still lived at home / She's a lovely girl She's got long black hair / if you go home now / she might still be there Susan's babysitter / is twenty-one years old / she still looks like Susan when Susan was not at home She's a lovely girl / she's got long blonde hair / if you go home now she will not be there / 'cos she left last June She came home too soon / You were both upstairs / in your daughter's room She's a lovely girl. |
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5:45 |
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from Pulp, Pulp - This Is Hardcore (1998)
You look just like Sylvia, well you look like her to me The way she wore her hair then, oh, the way she used to be I've not seen her for a long time, though I've heard she's still around Her father's living with some girl who's a year younger than her She's living in the country now, yeah, oh, she's trying to get better Her beauty was her only crime, yeah, I remember Sylvia So keep believing and do what you do I can't help you but I know things are gonna get better And please stop asking what it's got to do with you Oh, keep believing cos you know that you deserve better Who's this man you're talking to, can't you see what he wants to do He thinks if he stands near enough then he will look as good as you Oh, he don't care about your problems, he just wants to show his friends I guess I'm just the same as him, I just didn't know it then I never understood you really and I know it's too late now You didn't ask to be that way, oh, I'm sorry Sylvia So keep believing and do what you do I can't help you but I know things are gonna get better And please stop asking what it's got to do with you Oh, keep believing cos you know that you deserve better Oh, it's true yeah So please stop asking what it's got to do with you Oh, keep believing cos you know that you deserve better Yeah you know that you deserve better Oh you know that you deserve better Oh Sylvia |
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from Pulp - The Trees [single] (2001)
I used to hate the sun because it shone on everything I'd done.
Made me feel that all that I had done was overfill the ashtray of my life. All my achievements in days of yore range from pathetic to piss-poor, But all that's gonna change. Because here comes sunrise. Yeah, here's your sunrise. I used to hide from the sun, tried to live my whole life underground. Why'd you have to rise & ruin all my fun? Just turned over, Closed the curtains on the day. But here comes sunrise. Yeah, here's your sunrise when you've been awake all night long And you feel like crashing out at dawn. But you've been awake all night, so why should you crash out at dawn |
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5:53 |
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from Pulp - We Love Life (2001)
I used to hate the sun because it shone on everything I'd done.
Made me feel that all that I had done was overfill the ashtray of my life. All my achievements in days of yore range from pathetic to piss-poor, But all that's gonna change. Because here comes sunrise. Yeah, here's your sunrise. I used to hide from the sun, tried to live my whole life underground. Why'd you have to rise & ruin all my fun? Just turned over, Closed the curtains on the day. But here comes sunrise. Yeah, here's your sunrise when you've been awake all night long And you feel like crashing out at dawn. But you've been awake all night, so why should you crash out at dawn |
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6:05 |
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from Pulp - The John Peel Sessions (2006)
I used to hate the sun because it shone on everything I'd done.
Made me feel that all that I had done was overfill the ashtray of my life. All my achievements in days of yore range from pathetic to piss-poor, But all that's gonna change. Because here comes sunrise. Yeah, here's your sunrise. I used to hide from the sun, tried to live my whole life underground. Why'd you have to rise & ruin all my fun? Just turned over, Closed the curtains on the day. But here comes sunrise. Yeah, here's your sunrise when you've been awake all night long And you feel like crashing out at dawn. But you've been awake all night, so why should you crash out at dawn |
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5:57 |
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from Pulp - The John Peel Sessions (2006)
I used to hate the sun because it shone on everything I'd done.
Made me feel that all that I had done was overfill the ashtray of my life. All my achievements in days of yore range from pathetic to piss-poor, But all that's gonna change. Because here comes sunrise. Yeah, here's your sunrise. I used to hide from the sun, tried to live my whole life underground. Why'd you have to rise & ruin all my fun? Just turned over, Closed the curtains on the day. But here comes sunrise. Yeah, here's your sunrise when you've been awake all night long And you feel like crashing out at dawn. But you've been awake all night, so why should you crash out at dawn |
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3:49 |
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| from Pulp, Pulp - This Is Hardcore (1998) | |||||
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5:55 |
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from Pulp, Pulp - His N Hers (1994)
Doorways / corners / and the street lights dance in your eyes
Behind the cinema / in the rain / in the subway where the walls crumble and cover you in fine dust 'cos we haven't got a home to go to / touch me on the back seat, on the top deck / talk dirty / on the back row can you feel me / against you? / oh no / we shouldn't / we shouldn't we shouldn't / I want to / ...mmmm... / What you gonna do if you go home and he's not there? it wouldn't be the same if we didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow Someone wants to watch by the side of Alena Stores in the doorway, in the rain / Did he see us? / Do you care? Pull the night-time tight around us / and we can keep each other warm while the cars drive by / en-route to dried-up dinners and strip-lit kitchens and the smell of gas and potato peelings What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow yeah We've got to go on meeting like this I don't want to live with you or anywhere near you I want to catch you unawares / undressing in front of a window maybe impressed with those things I drive by / Did you see me? Could you tell that I was watching? / Did it make it feel better? Yeah, it was good for me too / Did you think about me? Oh did you close your eyes? / Think that maybe it was my hand that was touching you / my breath against your face? and when you opened your eyes did the world tip off its axis for a few seconds? And you thought you'd caught a tiny glimpse of someone? Something here with it's shoulders moving towards you? Yeah I did too / and it felt good / and it felt good / and it felt good In a strange kind of way in a way that things that aren't supposed to feel good / sometimes do oh take it away / yeah What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow. |
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from Pulp, Pulp - Different Class (1995)
Doorways / corners / and the street lights dance in your eyes
Behind the cinema / in the rain / in the subway where the walls crumble and cover you in fine dust 'cos we haven't got a home to go to / touch me on the back seat, on the top deck / talk dirty / on the back row can you feel me / against you? / oh no / we shouldn't / we shouldn't we shouldn't / I want to / ...mmmm... / What you gonna do if you go home and he's not there? it wouldn't be the same if we didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow Someone wants to watch by the side of Alena Stores in the doorway, in the rain / Did he see us? / Do you care? Pull the night-time tight around us / and we can keep each other warm while the cars drive by / en-route to dried-up dinners and strip-lit kitchens and the smell of gas and potato peelings What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow yeah We've got to go on meeting like this I don't want to live with you or anywhere near you I want to catch you unawares / undressing in front of a window maybe impressed with those things I drive by / Did you see me? Could you tell that I was watching? / Did it make it feel better? Yeah, it was good for me too / Did you think about me? Oh did you close your eyes? / Think that maybe it was my hand that was touching you / my breath against your face? and when you opened your eyes did the world tip off its axis for a few seconds? And you thought you'd caught a tiny glimpse of someone? Something here with it's shoulders moving towards you? Yeah I did too / and it felt good / and it felt good / and it felt good In a strange kind of way in a way that things that aren't supposed to feel good / sometimes do oh take it away / yeah What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow. |
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from Pulp - Different Class / Second Class (1996)
Doorways / corners / and the street lights dance in your eyes
Behind the cinema / in the rain / in the subway where the walls crumble and cover you in fine dust 'cos we haven't got a home to go to / touch me on the back seat, on the top deck / talk dirty / on the back row can you feel me / against you? / oh no / we shouldn't / we shouldn't we shouldn't / I want to / ...mmmm... / What you gonna do if you go home and he's not there? it wouldn't be the same if we didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow Someone wants to watch by the side of Alena Stores in the doorway, in the rain / Did he see us? / Do you care? Pull the night-time tight around us / and we can keep each other warm while the cars drive by / en-route to dried-up dinners and strip-lit kitchens and the smell of gas and potato peelings What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow yeah We've got to go on meeting like this I don't want to live with you or anywhere near you I want to catch you unawares / undressing in front of a window maybe impressed with those things I drive by / Did you see me? Could you tell that I was watching? / Did it make it feel better? Yeah, it was good for me too / Did you think about me? Oh did you close your eyes? / Think that maybe it was my hand that was touching you / my breath against your face? and when you opened your eyes did the world tip off its axis for a few seconds? And you thought you'd caught a tiny glimpse of someone? Something here with it's shoulders moving towards you? Yeah I did too / and it felt good / and it felt good / and it felt good In a strange kind of way in a way that things that aren't supposed to feel good / sometimes do oh take it away / yeah What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow. |
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3:27 |
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from Pulp, Pulp - His N Hers (1994)
You said you wanted some space ...
Well is this enough for you? ... This is what you've waited for ... No dust collecting in the corners ... No cups of tea that got cold before you drank them ... Tonight ... travelling at the speed of thought ... We're going to escape into the stars ... It doesn't matter if the lifts are out of order ... Or the car won't start ... We're rising up ... above the city ... over forests ... over fields ... Rivers and lakes ... into the clouds ... and up above us ... The whole universe is shining a welcome ... Did you ever really think this day would happen ... After days trying to sell washing-machines on your own? ... It looked like we never left the ground ... But we're weightless ... floating free ... We can go wherever we want ... solar systems ... constellations ... galaxies ... I'll race you to the nearest planet ... How may times have you wished upon a star? ... Now you can touch it ... you can touch the stars ... Go on ... don't be afraid ... "I only wanted some space" ... Well is this enough for you? ... Is it ? ... Well the stars are bright ... but they don't give out any heat ... The planets ... are lumps of rock ... floating in a vacuum ... Yeah, space is cold ... when you're on your own ... I think it's time to go home ... pulling my strings ... Like a kite that flew too high ... and now it's time to come down ... Look out below ... Wait 'til I get back ... You can see something ... You can see space ... but now I know ... it's O.K. ... Space is O.K. ... but I'd rather ... I'd rather get my ... I'd rather get my kicks down below ... oh yeah ... come on ... |
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3:48 |
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from Pulp, Pulp - Different Class (1995)
Oh is this the way they say the future's meant to feel?
Or just 20,000 people standing in a field. And I don't quite understand just what this feeling is. But that's okay cos we're all sorted out for E's and wizz. And tell me when the spaceship lands cos all this has just got to mean something. In the middle of the night, it feels alright, but then tommorow morning. Oh then you come down. Oh yeah the pirate radio told us what was going down. Got the tickets from some fucked up bloke in Camden Town. Oh and no-one seems to know exactly where it is. But that's okay cos we're all sorted out for E's and wizz. At 4 o'clock the normal world seems very, very, very far away. Alright. In the middle of the night, it feels alright, but then tommorow morning. Oh then you come down. Just keep on moving... Everybody asks your name, they say we're all the same and it's "nice one," "geezer" but that's as far as the conversation went. I lost my friends, I dance alone, it's six o'clock, I wanna go home. But it's "no way," "not today," makes you wonder what it meant. And this hollow feeling grows and grows and grows and grows, and you want to phone your mother and say, "Mother, I can never come home again, cos I seem to have left an important part of my brain somewhere, somewhere in a field in Hampshire." Alright. In the middle of the night, it feels alright, but then tommorow morning. Oh then you come down. What if you never come down? |
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from Pulp - Different Class / Second Class (1996)
Oh is this the way they say the future's meant to feel?
Or just 20,000 people standing in a field. And I don't quite understand just what this feeling is. But that's okay 'cause we're all sorted out for E's and wizz. And tell me when the spaceship lands 'cause all this has just got to mean something. In the middle of the night, It feels alright, But then tomorrow morning. Oh then you come down. Oh yeah the pirate radio told us what was going down. Got the tickets from some fucked up bloke in Camden Town. Oh and no-one seems to know exactly where it is. But that's okay 'cause we're all sorted out for E's and wizz. At 4 o'clock the normal world seems very, very, very far away. Alright. In the middle of the night, It feels alright, But then tomorrow morning. Oh then you come down. Just keep on moving... Everybody asks your name, They say we're all the same and it's "nice one," "geezer" But that's as far as the conversation went. I lost my friends, I dance alone, It's six o'clock, I want to go home. But it's "no way," "not today," Makes you wonder what it meant. And this hollow feeling grows and grows and grows and grows, And you want to phone your mother and say, "Mother, I can never come home again, 'cause I seem to have left an important part of my brain somewhere, Somewhere in a field in Hampshire." Alright. In the middle of the night, It feels alright, But then tomorrow morning. Oh then you come down. What if you never come down? |
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3:55 |
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from Pulp - The John Peel Sessions (2006)
Oh is this the way they say the future's meant to feel?
Or just 20,000 people standing in a field. And I don't quite understand just what this feeling is. But that's okay 'cause we're all sorted out for E's and wizz. And tell me when the spaceship lands 'cause all this has just got to mean something. In the middle of the night, It feels alright, But then tomorrow morning. Oh then you come down. Oh yeah the pirate radio told us what was going down. Got the tickets from some fucked up bloke in Camden Town. Oh and no-one seems to know exactly where it is. But that's okay 'cause we're all sorted out for E's and wizz. At 4 o'clock the normal world seems very, very, very far away. Alright. In the middle of the night, It feels alright, But then tomorrow morning. Oh then you come down. Just keep on moving... Everybody asks your name, They say we're all the same and it's "nice one," "geezer" But that's as far as the conversation went. I lost my friends, I dance alone, It's six o'clock, I want to go home. But it's "no way," "not today," Makes you wonder what it meant. And this hollow feeling grows and grows and grows and grows, And you want to phone your mother and say, "Mother, I can never come home again, 'cause I seem to have left an important part of my brain somewhere, Somewhere in a field in Hampshire." Alright. In the middle of the night, It feels alright, But then tomorrow morning. Oh then you come down. What if you never come down? |
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3:19 |
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from Pulp, Pulp - Different Class (1995)
I wrote this song two hours before we met
I didn't know your name or what you looked like yet Oh, I could have stayed at home and gone to bed I could have gone to see a film instead You might have changed your mind and seen your friends Life could have been very different but then something changed Do you believe that there's someone up above? And does he have a timetable directing acts of love? Why did I write this song on that one day? Why did you touch my hand and softly say "Stop asking questions that don't matter anyway Just give us a kiss to celebrate here today something changed?" Oh, when we woke up that morning we had no way of knowing that in a matter of hours we change the way we were going Oh, where would I be now? Where would I be now if we never met? Would I be singing this song to someone else instead? I don't know, but like you just said something changed. |
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from Pulp - Different Class / Second Class (1996)
I wrote this song two hours before we met I didn't know your name or what you looked like yet Oh I could have stayed at home and gone to bed I could have gone to see a film instead You might have changed your mind and seen your friends Life could have been very different but then something changed Do you believe that there's someone up above? And does he have a timetable directing acts of love? Why did I write this song on that one day? Why did you touch my hand and softly say "Stop asking questions that don't matter anyway Just give us a kiss to celebrate here today something changed?" When we woke up that morning we had no way of knowing that in a matter of hours we change the way we were going Oh, where would I be now? Where would I be now if we never met? Would I be singing this song to someone else instead? I don't know, but like you just said something changed.
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4:19 |
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from Pulp, Pulp - His N Hers (1994)
She likes to watch the moon,
as it travels through the sky, cos she's heard that it's romantic, though she really can't see why. Someone should have helped her through the day. Someone like the moon. So she drinks a cup of coffee, and telephones a friend, and she asks if she can make it, so this night will never end. Someone should have helped her through the day. Someone like the moon. But the light comes, and the day bleeds through the sky, and the sun, the sun makes it hard to get through, and the radio only plays love songs so she cries, though she knows it's such a bad thing to do. In the evening it gets better, and she thinks how it's not right, that someone so stupid, can so easily screw up your life. Someone should have helped her through the day. Someone like the moon. But the light came, and the day bled through the sky, and the sun, the sun made it hard to get through, and the radio only played love songs so she cried, though she knew it's such a bad thing to do. Can't you see? Can't you see? Someone should have helped her through the day. Someone like the moon. |
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| from Pulp - On Fire (2001) | |||||
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from Pulp - Primal/ The Best Of The Fire Years (2005)
She's dying
everybody came to see She's falling and I know I'll never see her face again And I don't really know just why she's leaving All she ever said was she just had to go And I watch her as she walks away from me Yeah, I can see her then I know that in a moment she'll be gone Yeah, she'll be gone and and then I'll say "You've got to understand She's not really breathing no not at all those years of endless rain they just washed her away." Oh and I know she's leaving Yeah she's going for good Oh and I'd love to go with you but I never would Face it you've blown it this time round Now I understand just why she's leaving Oh If she'd have hung around with me well you know she'd never go, no nonono Oh and I know she's leaving Yeah, she's going for good and I'd love to go with you but I never would Oh and I know she's leaving Yeah, she's going for good and I'd love to go with you oh but I never would No I never would No I never would No I never would Oh no Dadadada dadada... She's never coming back Face it She's gone Oh Lalalala lalala... No I never would No I never would. |
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5:05 |
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from Pulp - Countdown 1992-1983 (1996)
She's dying
everybody came to see She's falling and I know I'll never see her face again And I don't really know just why she's leaving All she ever said was she just had to go And I watch her as she walks away from me Yeah, I can see her then I know that in a moment she'll be gone Yeah, she'll be gone and and then I'll say "You've got to understand She's not really breathing no not at all those years of endless rain they just washed her away." Oh and I know she's leaving Yeah she's going for good Oh and I'd love to go with you but I never would Face it you've blown it this time round Now I understand just why she's leaving Oh If she'd have hung around with me well you know she'd never go, no nonono Oh and I know she's leaving Yeah, she's going for good and I'd love to go with you but I never would Oh and I know she's leaving Yeah, she's going for good and I'd love to go with you oh but I never would No I never would No I never would No I never would Oh no Dadadada dadada... She's never coming back Face it She's gone Oh Lalalala lalala... No I never would No I never would. |
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5:49 |
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from Pulp, Pulp - His N Hers (1994)
Are you trying to put me on?
I turned around and it was gone. Did I leave it in your car? On a table in a bar? Or in your bed between the sheets? The places where we used to meet. Wherever love has gone I need to know. Cos she's a woman, Oh yeah, she's a woman. Ma Ma Ma Ma Ma Ma she's a lady. And I just love the way she moves, the way she moves, Watch her. When you left, I didn't know how I was going to forget you. I was hanging by a thread and then I met her. Selling pictures of herself to German business men. Well, that's all she wants to do. Come on, come on. I don't want to try too hard. I don't want to wait too long. I don't want to live alone, with all this crap that pulls me down. Oh, tell me now, how would it feel, if I could touch you once again. Where have you gone, where have you gone. The moon has gone down on the sun, Oh yeah. I know that you're coming home. You wouldn't leave me on my own. Everybody can't you see, she's coming back to me. Whilst you were gone I got along. I didn't die, I carried on I went drinking every night just so I could feel alright. Stayed in bed all day to feel OK. I felt OK. Oh I felt sick and tired, yes I did. She lived at her father's place, played his records though they jumped. Wore her body back to front. I tried hard to make it work, kissed her where she said it hurt but I was always underneath. She's a woman, Oh yeah, she's a woman. Ma Ma Ma Ma Ma Ma she's a lady. And I just love the way she moves, the way she moves, Watch her. I don't know why you pretend, that it causes you pain, when you know very well, you're going to do it again. You're going to do it again and again and again but can you keep it going all nite long? I know it's going to happen. It might not be today. It might not be tomorrow, or even the day after, but some time soon, you'll see, you're going to come back to me. Whilst you were gone I got along. I didn't die, I carried on I went drinking every night just so I could feel alright. Stayed in bed all day to feel OK. I felt OK. Whilst you were gone I got along. I didn't die, I carried on. Oh yeah I went with other women, what else can I say? I guess I kind of missed you, whilst you were away. Whilst you were gone. (stop) |
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from Pulp - Primal/ The Best Of The Fire Years (2005)
As the sun shines down on the land,
so her heart is crying for love. And there is no-one there, no-one to hear her voice. And she will sleep alone again tonight. Now the moon is high in the sky. In her room she calls out his name. But he is somewhere else, somewhere she cannot see. Oh, and the night is dark between them now, "My god, my God, why did he go away?" Now the sun shines on a new town. With a smile he gets off the train. He lights a cigarette, leans back to see the sky. Oh and he thinks how much better off he is, without her hanging round. Let's do it. And the day is passing by him, and he has nowhere to stay. At a lonely bar-room table, his mind goes back to yesterday, to the girl who's dead and buried, but her face lives in his eyes. He must forget that face forever. Make the future start tonight. But the meal he eats is dead flesh. There is cancer in his cigarettes. And the drinks won't do a thing for him, but revive some stupid memories. Then a hairstyle that reminds him, makes him run into the night, where the moon hangs high above him now, the same moon that she's praying on tonight. But the wind catches her words. And the moon swallows them whole. Now the moon is high in the sky. In her room she calls out his name. The night is cold and dark, and she is all alone. The bed is empty now. Her body screams for love. She wants to be with him. Oh but he's so far away. Oh and the night is dark between them now "My God, my God, why did he go away?" |
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8:30 |
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from Pulp, Pulp - This Is Hardcore (1998)
Here in the night love takes control. Making me high making me whole.
*I don't know. Oh no, no, no. No I don't know. No, no, no. No I don't know. When I close my eyes I can see you lowering yourself to my level. I don't know where you got those clothes, you can take them off if it makes you feel better. Don't stop it now. Now is so right. Now as the day slips away & we slide into night. [*Repeat] I open my eyes & you're there, even better in the flesh it would seem. I'm so ready and willing & able it's untrue, to act out this love scene & make my dreams come true. & how many others have touched themselves whilst looking at pictures of you? How many others could handle it if all their dreams came true? I don't expect you to answer straight away, maybe you're just having an off day but I need to believe in you. Yes I do. Yes I do. Oh I want you here in my heart. Here in my head. Live all your dreams for tonight here in your bed. [*Repeat] So roll the soundtrack and dim the lights 'cos I'm not going home tonight. This love scene has begun. There's nothing left for us to do but get it on. Lets make this the greatest love scene from a play no-one's thought up yet. I know you're feeling the same as me but what you gonna do about it? Now here's an exclusive: I've wanted you for years. I only needed the balls to admit it. When the unbelievable object meets the unstoppable force there's nothing you can do about it. No. I will light your cigarette with a star that has fallen from the sky. Breathe in, breathe out, I love the way you move. Don't let anyone tell you any different tonight. You are beauty, you are class, you showed it all but you still kept a little piece back just for me. A little piece back just for me. Just for me. Oh I don't know how you do it but I love the way you do it, when you're doing it to me. & if this is a dream then I'm going to sleep for the rest of my life. For the rest of my life For the rest of my life For the rest of my life |
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4:19 |
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from Pulp, Pulp - His N Hers (1994)
She / she used to live with his brother
Now she's an unmarried mother / with another / on the way He's seond rate / twisted out of shape and he looks a state, it costs so much to look this rough They go to town / they like to shop around / and look at all those things All those things they never wnated anyway / She hates his hair that stupid coat he wears / but sometimes second best is the best that you can get Oh yes / oh somebody told me / 'cos seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But in the morning it's raining / Oh Christ you're always complaining can't you think of something else / It's nearly-nu a bargain basement made for two / and if you blur your eyes you could be anywhere / you want yourself to be Oh yeah, it's bad / I know you want to laugh, so laugh But sometimes second best / Is all that you can get Oh yeah / oh somebody told me / the seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But you're so perfect you don't interest me at all You're golden boy fell down / Don't you know / he hasn't got a personality? And I know / he said he'd last all night then gave you seconds / yeah The seconds turn to hours / and the hours turn into days but still it feels like morning / The first time leaves its trace and then slides into second place / and still it feels like morning At night they try to fly / hold on tight and close their eyes and they hit the ground in the morning / My God they're still alive they got it wrong but they still tried / and they made it through to the morning. |
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from Pulp, Pulp - Different Class (1995)
She / she used to live with his brother
Now she's an unmarried mother / with another / on the way He's seond rate / twisted out of shape and he looks a state, it costs so much to look this rough They go to town / they like to shop around / and look at all those things All those things they never wnated anyway / She hates his hair that stupid coat he wears / but sometimes second best is the best that you can get Oh yes / oh somebody told me / 'cos seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But in the morning it's raining / Oh Christ you're always complaining can't you think of something else / It's nearly-nu a bargain basement made for two / and if you blur your eyes you could be anywhere / you want yourself to be Oh yeah, it's bad / I know you want to laugh, so laugh But sometimes second best / Is all that you can get Oh yeah / oh somebody told me / the seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But you're so perfect you don't interest me at all You're golden boy fell down / Don't you know / he hasn't got a personality? And I know / he said he'd last all night then gave you seconds / yeah The seconds turn to hours / and the hours turn into days but still it feels like morning / The first time leaves its trace and then slides into second place / and still it feels like morning At night they try to fly / hold on tight and close their eyes and they hit the ground in the morning / My God they're still alive they got it wrong but they still tried / and they made it through to the morning. |
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from Pulp - Different Class / Second Class (1996)
She / she used to live with his brother
Now she's an unmarried mother / with another / on the way He's seond rate / twisted out of shape and he looks a state, it costs so much to look this rough They go to town / they like to shop around / and look at all those things All those things they never wnated anyway / She hates his hair that stupid coat he wears / but sometimes second best is the best that you can get Oh yes / oh somebody told me / 'cos seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But in the morning it's raining / Oh Christ you're always complaining can't you think of something else / It's nearly-nu a bargain basement made for two / and if you blur your eyes you could be anywhere / you want yourself to be Oh yeah, it's bad / I know you want to laugh, so laugh But sometimes second best / Is all that you can get Oh yeah / oh somebody told me / the seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But you're so perfect you don't interest me at all You're golden boy fell down / Don't you know / he hasn't got a personality? And I know / he said he'd last all night then gave you seconds / yeah The seconds turn to hours / and the hours turn into days but still it feels like morning / The first time leaves its trace and then slides into second place / and still it feels like morning At night they try to fly / hold on tight and close their eyes and they hit the ground in the morning / My God they're still alive they got it wrong but they still tried / and they made it through to the morning. |
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4:16 |
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from Pulp - We Love Life (2001)
The feel of my arm around your waist, the pale blue nightdress that you wore.
Your hair in braids, your sailor top: the things I don't see anymore. You lost your suitcase in my hotel room, a subway token from your Ma. The sun reflecting off the water on your face & the way you drove your car. All these things I can't forget tho' I don't see you anymore. Drove to the airport thru' a traffic jam; a deer lay dying in the road. Maybe I should have seen it as some kind of sign, except I don't believe in them no more. No, no - but I believe these things I can't forget, tho' I don't see you anymore. Yes, I believe these things I can't forget, 'cos I see them - tho' I don't see you anymore. |
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4:26 |
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3:20 |
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4:48 |
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from Pulp, Pulp - His N Hers (1994)
You'd better watch what you're wearing,
if you want him to come round and see you tonight. He doesn't care what it looks like, just as long as it's pink and it's tight. Oooh, so what should you do? Should you stop being you? Just to be how he wants you? Oooh, say you'll visit your mum, then tell me that you'll come, and meet me in the afternoon. He's got your heart, he's got control. You might as well know. I know you're never going to be with me, but if you try sometimes then maybe, you could get it right first time. I realise that you'll never leave him, but every now and then in the evening. You could get it right first time. I know you think I've got to be joking, but if you touch him again then I'm going. You got it right first time. Get it right first time. Now you've done it once now he wants you, to wear your pink glove all the time. Oooh, so what should you do? Should you stop being you? Just to be how he wants you? Oooh, say you'll visit your mum, then tell me that you'll come, and meet me in the afternoon. He's got your heart, he's got control. You might as well know. I know you're never going to be with me but if you try sometimes then maybe, you could get it right first time. I realise that you'll never leave him, but every now and then in the evening. You could get it right first time. I know you think I've got to be joking, but if you touch him again then I'm going. You got it right first time. Get it right first time. Oh you'll always be together, cos he gets you up in leather. So you know what to wear at the end of the day, and I'd laugh if I saw, but I'm out of the way. Yeah it's too long ago, shouldn't care anymore but I wanted to know; is it as good as before? Yeah it's hard to believe that you'd go for that stuff, all those baby-doll nighties with synthetic fluff. Yeah it looks pretty good and it fits you OK, wear your pink glove babe, he put it on the wrong way. I know you're never going to be with me but if you try sometimes then maybe, you could get it right first time. I realise that you'll never leave him, but every now and then in the evening. You could get it right first time. I know you think I've got to be joking, but if you touch him again then I'm going. You got it right first time. Get it right first time. |
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5:08 |
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from Pulp - The John Peel Sessions (2006)
You'd better watch what you're wearing if you want hoim to come round and
see you tonight. Ma Ma Ma. He doesn't care what it looks like just al long as it's pink and it's tight. Ma Ma Ma. Oooh, so what should you do? Should you stop being you? Just to be how he wants you? Oooh, say you'll visit your mum then tell me that you'll come and meet me in the afternoon. He's got your heart, he's got control. Oh God, you might as well know. I know you're never going to be with me but if you try sometimes then maybe you could get it right first time. I realize that you'll never leave him but every now and then in the evening. You could get it right first time. I know you think I've got to be joking but if you touch him again I'm going. You got it right first time. Get it right first time. Now you've done it once now he wants you to wear your pink glove all the time. Ma Ma Ma. Oooh, so what should you do? Should youu stop being you? Just to be how he wants you? Oooh, say you'll visit your mum then tell me that you'll come and meet me in the afternoon. He's got your heart, he's got control. Oh God, you might as well know. I know you're never going to be with me...etc. Oh, you'll always be together 'cos he gets you up in leather. So you know what to wear at the end of the day and I'd laugh if I saw but I'm out of the way. Yeah it's too ong ago, shouldn't care anymore but I wanted to know; is it as good as before? Yeah it's hard to believe that you'd go for all that stuff, all those baby-doll nighties with synthetic fluff. Yeah it looks pretty good and it fits you OK, wear you pink glove babe he put it on the wrong way. Jesus. I know you're never going to be with me...etc |
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3:11 |
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from Pulp, Pulp - Different Class (1995)
When you raise your pencil skirt,
like a veil before my eyes, like the look upon his face as he's zipping up his flies. Oh I know that you're engaged to him. Oh but I know that you want something to play with baby. I'll be around when he's not in town, I'll show you how you're doing it wrong, I really love it when you tell me to stop. Oh it's turning me on. You can tell me some lies, about the good times that you've had, but I've kissed your more than twice, and now I'm working on your Dad. Oh baby. I'll be around when he's not in town, I'll show you how you're doing it wrong, I really love it when you tell me to stop. Oh it's turning me on. If you look under the bed, then I can see my house from here, so just lie against the wall, and watch my conscience disappear now baby I'll be around when he's not in town, I'll show you how you're doing it wrong, I really love it when you tell me to stop. Oh it's turning me on. I only come here cause I know it makes you sad. I only do it cause I know you know it's bad. Oh yes I know, that it's ugly and it shouldn't be like that. Oh but oh it's turning me on. |
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from Pulp - Different Class / Second Class (1996)
When you raise your pencil skirt like a veil before my eyes
Like the look upon his face as he's zipping up his flies. Oh I know that you're engaged to him. Oh but I know that you want something to play with baby. I'll be around when he's not in town, I'll show you how you're doing it wrong I really love it when you tell me to stop. Oh it's turning me on. You can tell me some lies about the good times that you've had But I've kissed your mother once and now I'm working on your Dad. Oh baby, I'll be around when he's not in town I'll show you how you're doing it wrong I really love it when you tell me to stop. Oh it's turning me on. If you look under the bed then I can see my house from here So just lie against the wall and watch my conscience disappear. Now baby I'll be around when he's not in town I'll show you how you're doing it wrong I really love it when you tell me to stop. Oh it's turning me on. I only come here cause I know it makes you sad yeah. I only do it cause I know you know it's bad. Oh yes I know that it's ugly and it shouldn't be like that. Oh but oh it's turning me on. |
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3:22 |
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from Pulp - The John Peel Sessions (2006)
When you raise your pencil skirt like a veil before my eyes
Like the look upon his face as he's zipping up his flies. Oh I know that you're engaged to him. Oh but I know that you want something to play with baby. I'll be around when he's not in town, I'll show you how you're doing it wrong I really love it when you tell me to stop. Oh it's turning me on. You can tell me some lies about the good times that you've had But I've kissed your mother once and now I'm working on your Dad. Oh baby, I'll be around when he's not in town I'll show you how you're doing it wrong I really love it when you tell me to stop. Oh it's turning me on. If you look under the bed then I can see my house from here So just lie against the wall and watch my conscience disappear. Now baby I'll be around when he's not in town I'll show you how you're doing it wrong I really love it when you tell me to stop. Oh it's turning me on. I only come here cause I know it makes you sad yeah. I only do it cause I know you know it's bad. Oh yes I know that it's ugly and it shouldn't be like that. Oh but oh it's turning me on. |
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3:35 |
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from Pulp, Pulp - Different Class (1995)
Hey hey Paula, I never thought we'd last this long.
Your voice annoys me and your hair's all wrong, so wrong. Oh and Paula, I don't like any of your friends. Yes, and horoscopes just send me fast asleep. Oh funny how we still spend the night together, oh even though we don't see one thing the same. But we still do it again. Oh yeah we do it again. Oh Paula, I just can't get it through my head how you can look so bad but be so good in bed. So good. Oh funny how we still spend the night together, oh even though we don't see one thing the same. But still we do it again. Oh yeah we do it again, yeah. Oh funny how we still spend the night together, oh even though we don't see one thing the same. And still we do it again. Oh yeah we do it again. Oh now Paula. I think it's time that you should go. Until tonight at least and then we can go to bed. Let's go to bed. Ooooooo. Ooooooo. La-la-la-la-la-la-la-la-la. La-la-la-la-la-la-la-la-la (x3). Oh. |
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4:01 |
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from Pulp, Pulp - This Is Hardcore (1998)
I used to try very hard to make friends with everyone on the planet. I've seen you havin' it, havin' it yeah but now you've just had it. Entertainment can sometimes be hard when the thing that you love is the same thing that's holding you down. This man is dangerous , he just shed his load on your best party frock. Before you enter the palace of wisdom you have to decide: are you ready to rock? Oh can you party with me? Can you show me a good time? Do you even know what one looks like? & I don't need to hear your stories again - just get on the floor & show me what you're made of. Just what exactly are you made of? Baby, you're driving me crazy. Baby, you're driving me crazy. I was having a whale of a time until your uncle Psychosis arrived. Why do we have to half kill ourselves just to prove we're alive? I'm here whenever you need me & whenever you need me I won't be here. & have you ever stopped to ask yourself? If you didn't come to party then why did you come here? Why did you come here? Baby, you're driving me crazy. Baby, you're driving me crazy. & do you really know want to know just how come you turned out so dumb? When the party's over will you come home with me? When the party's over will you come home with me? Now the party's over will you come home to me. Will you come home to me?
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4:27 |
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from Pulp - The John Peel Sessions (2006)
I used to try very hard to make friends with everyone on the planet. I've seen you havin' it, havin' it yeah but now you've just had it. Entertainment can sometimes be hard when the thing that you love is the same thing that's holding you down. This man is dangerous , he just shed his load on your best party frock. Before you enter the palace of wisdom you have to decide: are you ready to rock? Oh can you party with me? Can you show me a good time? Do you even know what one looks like? & I don't need to hear your stories again - just get on the floor & show me what you're made of. Just what exactly are you made of? Baby, you're driving me crazy. Baby, you're driving me crazy. I was having a whale of a time until your uncle Psychosis arrived. Why do we have to half kill ourselves just to prove we're alive? I'm here whenever you need me & whenever you need me I won't be here. & have you ever stopped to ask yourself? If you didn't come to party then why did you come here? Why did you come here? Baby, you're driving me crazy. Baby, you're driving me crazy. & do you really know want to know just how come you turned out so dumb? When the party's over will you come home with me? When the party's over will you come home with me? Now the party's over will you come home to me. Will you come home to me?
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3:16 |
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from Pulp, Pulp - Different Class (1995)
I know I'm getting on / and you're so very young / but would you like to stay
until next Saturday / or Sunday? I'll give you your own room / it's next door to my room and some time in the night / well, maybe I just might Oh take your clothes off won't you please? You don't have to talk to me / just leave the light on so I can see You've got everything I need / Oh yeah You know I can't forget / that special night we met / at the local P.T.A. when your mother came to say / that you'd been taking days off school I turned and looked at you, I said "Yes, I understand / I'm gonna take this girl in hand." Oh take your clothes off, one two three No you don't have to talk to me / just leave the light on so I can see You've got everything you need / Oh yeah 'Cause I've never had a woman before I was too scared to touch the girls in the Poly And I don't know what it's like to be young 'Cause all my life I've been knocking on forty Oh yeah / Oh yeah / Oh yeah / Oh yeah <i>[Jarvis:]</i> So if I / put my hand / on your bosom... <i>[Candida:]</i> Yeah? <i>[Jarvis:]</i> ...would that / give you an orgasm? No that's not right / But, but if we / if we kissed with tongues <i>[Candida: giggles]</i> <i>[Jarvis:]</i> won't that / wouldn't that make / wouldn't that make you come? Oh take your clothes off won't you please? / No you don't have to talk to me just leave the light on so I can see / You've got everything I need Oh oh oh / Just one touch was all it took No you can't learn it from a book / Let's go upstairs and have a / look Oh you've got everything I need / Oh yeah / Oh yeah, oh yeah Oh yeah, oh yeah / Oh yeah / Hit me. |
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from Pulp - Different Class / Second Class (1996)
I know I'm getting on / and you're so very young / but would you like to stay
until next Saturday / or Sunday? I'll give you your own room / it's next door to my room and some time in the night / well, maybe I just might Oh take your clothes off won't you please? You don't have to talk to me / just leave the light on so I can see You've got everything I need / Oh yeah You know I can't forget / that special night we met / at the local P.T.A. when your mother came to say / that you'd been taking days off school I turned and looked at you, I said "Yes, I understand / I'm gonna take this girl in hand." Oh take your clothes off, one two three No you don't have to talk to me / just leave the light on so I can see You've got everything you need / Oh yeah 'Cause I've never had a woman before I was too scared to touch the girls in the Poly And I don't know what it's like to be young 'Cause all my life I've been knocking on forty Oh yeah / Oh yeah / Oh yeah / Oh yeah <i>[Jarvis:]</i> So if I / put my hand / on your bosom... <i>[Candida:]</i> Yeah? <i>[Jarvis:]</i> ...would that / give you an orgasm? No that's not right / But, but if we / if we kissed with tongues <i>[Candida: giggles]</i> <i>[Jarvis:]</i> won't that / wouldn't that make / wouldn't that make you come? Oh take your clothes off won't you please? / No you don't have to talk to me just leave the light on so I can see / You've got everything I need Oh oh oh / Just one touch was all it took No you can't learn it from a book / Let's go upstairs and have a / look Oh you've got everything I need / Oh yeah / Oh yeah, oh yeah Oh yeah, oh yeah / Oh yeah / Hit me. |
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from Pulp, Pulp - Different Class (1995)
I know I'm getting on / and you're so very young / but would you like to stay
until next Saturday / or Sunday? I'll give you your own room / it's next door to my room and some time in the night / well, maybe I just might Oh take your clothes off won't you please? You don't have to talk to me / just leave the light on so I can see You've got everything I need / Oh yeah You know I can't forget / that special night we met / at the local P.T.A. when your mother came to say / that you'd been taking days off school I turned and looked at you, I said "Yes, I understand / I'm gonna take this girl in hand." Oh take your clothes off, one two three No you don't have to talk to me / just leave the light on so I can see You've got everything you need / Oh yeah 'Cause I've never had a woman before I was too scared to touch the girls in the Poly And I don't know what it's like to be young 'Cause all my life I've been knocking on forty Oh yeah / Oh yeah / Oh yeah / Oh yeah <i>[Jarvis:]</i> So if I / put my hand / on your bosom... <i>[Candida:]</i> Yeah? <i>[Jarvis:]</i> ...would that / give you an orgasm? No that's not right / But, but if we / if we kissed with tongues <i>[Candida: giggles]</i> <i>[Jarvis:]</i> won't that / wouldn't that make / wouldn't that make you come? Oh take your clothes off won't you please? / No you don't have to talk to me just leave the light on so I can see / You've got everything I need Oh oh oh / Just one touch was all it took No you can't learn it from a book / Let's go upstairs and have a / look Oh you've got everything I need / Oh yeah / Oh yeah, oh yeah Oh yeah, oh yeah / Oh yeah / Hit me. |
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3:29 |
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from Pulp - Countdown 1992-1983 (1996)
Come up to my lighthouse for I have something I wish to say
It can wait for a moment; well in fact it can wait all day I just wanted to bring you up here so you could have the chance to see the beauty of this situation that you could share with me It may seem strange to talk of love and then lighthouses It's not strange to me Hey All alone you and I in our high tower That's the way to be Some laugh at my lighthouse they say it's just an ivory tower But I don't mind because I know their envy grows by the hour See I have a purpose up here to guide the ships upon their way All this is mine; it could be yours too what do you say? It may seem strange to talk of love and then lighthouses It's not strange to me Hey All alone you and I in our high tower That's the way to be Hehehey hey. |
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from Pulp - On Fire (2001)
Come up to my lighthouse for I have something I wish to say
It can wait for a moment; well in fact it can wait all day I just wanted to bring you up here so you could have the chance to see the beauty of this situation that you could share with me It may seem strange to talk of love and then lighthouses It's not strange to me Hey All alone you and I in our high tower That's the way to be Some laugh at my lighthouse they say it's just an ivory tower But I don't mind because I know their envy grows by the hour See I have a purpose up here to guide the ships upon their way All this is mine; it could be yours too what do you say? It may seem strange to talk of love and then lighthouses It's not strange to me Hey All alone you and I in our high tower That's the way to be Hehehey hey. |
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6:45 |
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from Pulp - Countdown 1992-1983 (1996)
You know sometimes...when we're lying together...
and I know you're asleep...I can hear the soft sound of your breathing... so I get up...and I go to the window...Outside...I can see all the houses... curtains shut tight against the night...asleep beneath the roof-tiles... and as I stand here...I wonder...I wonder how many more times... I'm gonna come here...I wonder how many more times...I'm gonna lie here... and most of all...most of all I wonder...I wonder what it means... I just wanna know what it means...So I woke her... and we went walking through the sleeping town... down deserted streets...frozen gardens grey in the moonlight... fences...down to the canal... creeping slowly past the cooling towers... deserted factories...looking for an adventure... I wandered the streets calling your name...jumping walls... hoping to see a light in the window...let me in... let me come in...let me in tonight... oh I see you shivering in the garden... silver goose-flesh in the moonlight ...she's balancing... there are so many others...with unbroken eyes... no cellulite afternoons... and she is balancing... balancing on the edge of ugliness tonight... She is balancing... good God! My legendary girlfriend, she is crying tonight, Oh no she doesn't feel right, She's got no-one to hold, Her love is a sham, He is dancing somewhere. Oh no he doen't care, oh well, he'll never know. Jump...touch my hair...I wanna...I don't care...cos tonight...we could, maybe we...maybe we can touch the sky...do you think that we can... do you think that we can...touch the sky...please...I know... I know it's not forever...but tonight I don't care... your skin so pale in the moonlight... and the way your lips swell up when you're asleep... nothing else matters...do you know how much I want you?... Can you feel how much I want you?... Oh Pitsmoor Woman oh let oh let me in tonight My legendary girlfriend, she is crying tonight, Oh no she doesn't feel right, She's got no-one to hold. Her love is a sham, He is dancing somewhere. Oh no he doen't care, oh well, he'll never know. And all the stars came out tonight, and the moon came on it's face, It shone right though the clothes she wore, it shone right through the dress she wore. Good God Oh, y'know...listen...listen...please...oh...I just wanna... I just wanna... ...He falls to sleep again...no cheese tonight...she knows My legendary girlfriend, she is crying tonight, Oh no she doesn't feel right, She's got no-one to hold. Her love is a sham, He is dancing somewhere. Oh no he doen't care, oh well, he'll never know. And all the stars came out tonight, and the moon came on it's face. It shone right through the dress she wore, it shone right through the clothes she wore. And the stars and the moon, And the stars all came down today. Oh please love me tonight Good God now! |
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from Pulp - Primal/ The Best Of The Fire Years (2005)
You know sometimes...when we're lying together...
and I know you're asleep...I can hear the soft sound of your breathing... so I get up...and I go to the window...Outside...I can see all the houses... curtains shut tight against the night...asleep beneath the roof-tiles... and as I stand here...I wonder...I wonder how many more times... I'm gonna come here...I wonder how many more times...I'm gonna lie here... and most of all...most of all I wonder...I wonder what it means... I just wanna know what it means...So I woke her... and we went walking through the sleeping town... down deserted streets...frozen gardens grey in the moonlight... fences...down to the canal... creeping slowly past the cooling towers... deserted factories...looking for an adventure... I wandered the streets calling your name...jumping walls... hoping to see a light in the window...let me in... let me come in...let me in tonight... oh I see you shivering in the garden... silver goose-flesh in the moonlight ...she's balancing... there are so many others...with unbroken eyes... no cellulite afternoons... and she is balancing... balancing on the edge of ugliness tonight... She is balancing... good God! My legendary girlfriend, she is crying tonight, Oh no she doesn't feel right, She's got no-one to hold, Her love is a sham, He is dancing somewhere. Oh no he doen't care, oh well, he'll never know. Jump...touch my hair...I wanna...I don't care...cos tonight...we could, maybe we...maybe we can touch the sky...do you think that we can... do you think that we can...touch the sky...please...I know... I know it's not forever...but tonight I don't care... your skin so pale in the moonlight... and the way your lips swell up when you're asleep... nothing else matters...do you know how much I want you?... Can you feel how much I want you?... Oh Pitsmoor Woman oh let oh let me in tonight My legendary girlfriend, she is crying tonight, Oh no she doesn't feel right, She's got no-one to hold. Her love is a sham, He is dancing somewhere. Oh no he doen't care, oh well, he'll never know. And all the stars came out tonight, and the moon came on it's face, It shone right though the clothes she wore, it shone right through the dress she wore. Good God Oh, y'know...listen...listen...please...oh...I just wanna... I just wanna... ...He falls to sleep again...no cheese tonight...she knows My legendary girlfriend, she is crying tonight, Oh no she doesn't feel right, She's got no-one to hold. Her love is a sham, He is dancing somewhere. Oh no he doen't care, oh well, he'll never know. And all the stars came out tonight, and the moon came on it's face. It shone right through the dress she wore, it shone right through the clothes she wore. And the stars and the moon, And the stars all came down today. Oh please love me tonight Good God now! |
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4:20 |
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from Pulp, Pulp - This Is Hardcore (1998)
When I get lost & I can't find my direction
When I get lost I'm gonna follow my erection I don't need no compass I don't need no map Just gonna follow Cyclops Sat right here in my lap When I get lost & can't find my direction When I get lost I'm gonna follow my erection |
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