Qobuz Store wallpaper
Categories:
Cart 0

Your cart is empty

Pulp - We Love Life

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

We Love Life

Pulp

Available in
16-Bit CD Quality 44.1 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Purchase and download this album in a wide variety of formats depending on your needs.

It was clear that This Is Hardcore was a difficult, turbulent experience for Pulp -- it was such a troubled-sounding record that it was hard to tell where they would go next. Apparently that was as true for the band as it was for the listeners, since Pulp spent over three years preparing an album, cutting nearly a full record with longtime producer Chris Thomas before scrapping it all and entering the studio with cult hero (and Jarvis Cocker inspiration) Scott Walker. The pairing was intriguing but problematic, since Walker is not known as a producer and his recent recordings, such as Tilt and Pola X, were as inscrutable as Cocker was lucidly literate. Miraculously, the pairing resulted in the vibrant, reaffirming reinvention of We Love Life, an album that hints at music from Pulp's distant past (it's much closer to It than anything they've done since, though it has elements of the epics scattered through His 'n' Hers) while finding a new voice for the band and Jarvis as a lyricist. It's easy to see that this is a mature album, but that suggests a studied self-consciousness and safe, coffee-table artiness. This is maturation in a different sense -- Cocker has lived through dark times, as was evident in This Is Hardcore, and still sees difficulty in the present and past (the haunting centerpiece of "Wickerman"), but here he embraces life, even seeing his place in the grand scheme of things. Previously, Pulp's sleek music had been as darkly romantic as a drunken late night in a metropolis, and Cocker's lyrics were wittily urbane, embracing and mocking the idiosyncrasies of contemporary life, but here the music is considerably more organic -- Candida Doyle's synth, a former signature, can barely be heard -- and Cocker's elaborately detailed lyrics are trim and focused, filled with nature imagery. This is hardly a pastoral album, though, even with the occasional string section and acoustic guitars, nor does this sound like Pulp's version of a Scott Walker album. Instead, this is an emotional and musical breakthrough, finding the band leaping beyond the claustrophobic Hardcore and consolidating their previous obsessions, creating a textured, reflective record that in its own measured way is as impassioned as Different Class -- it's just that Jarvis is railing against the impulses within himself, and he winds up finding a way out. As such, We Love Life is warm and embracing, even when it delves into darkness, never nearly as despairing as Hardcore, and nearly as affirming as Different Class. And if that record was the mis-shaped misfit finally letting the world know that he was special, this is that same misfit turning inward, realizing that the world itself is special. Not the kind of thing that results in a massive hit, but it's tremendously rewarding all the same.
© Stephen Thomas Erlewine /TiVo

More info

We Love Life

Pulp

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app

Copy the following link to share it

You are currently listening to samples.

Listen to over 70 million songs with an unlimited streaming plan.

Listen to this album and more than 70 million songs with your unlimited streaming plans.

1
Weeds
00:03:41

Matt Lawrence, Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

2
Weeds II (The Origin Of The Species)
00:03:59

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

3
The Night That Minnie Timperley Died
00:04:38

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

4
The Trees (Album Version)
00:04:48

Hal Shaper, ComposerLyricist - Stanley Myers, ComposerLyricist - Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

5
Wickerman
00:08:17

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

6
I Love Life
00:05:31

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

7
Birds In Your Garden
00:04:12

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

8
Bob Lind (The Only Way Is Down)
00:04:14

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

9
Bad Cover Version
00:04:15

Steve Morris, Violin, AssociatedPerformer - Garfield Jackson, Viola, AssociatedPerformer - Rob Lewis, Recording Arranger, AssociatedPerformer - Peter Hanson, Violin, AssociatedPerformer - Chris Laurence, Double Bass, AssociatedPerformer - Sylvia Mason-James, Background Vocalist, AssociatedPerformer - Claudia Fontaine, Background Vocalist, AssociatedPerformer - Dermot Crehan, Violin, AssociatedPerformer - mary Scully, Double Bass, AssociatedPerformer - Anthony Pleeth, Cello, AssociatedPerformer - Perry Montague-Mason, Violin, AssociatedPerformer - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Emlyn Singleton, Violin, AssociatedPerformer - Bruce White, Viola, AssociatedPerformer - Liz Edwards, Violin, AssociatedPerformer - Mark Berrow, Violin, AssociatedPerformer - David Woodcock, Violin, AssociatedPerformer - Leon Bosch, Double Bass, AssociatedPerformer - Rachel Allen, Violin, AssociatedPerformer - Benedict Cruft, Violin, AssociatedPerformer - Beverly Skeet, Background Vocalist, AssociatedPerformer - Jim McLeod, Violin, AssociatedPerformer - Robert Smissen, Viola, AssociatedPerformer - Rita Manning, Violin, AssociatedPerformer - Simon Fischer, Violin, AssociatedPerformer - Eddie Roberts, Violin, AssociatedPerformer - Naomi Wright, Cello, AssociatedPerformer - Bill Benham, Viola, AssociatedPerformer - Everton Newson, Cello, AssociatedPerformer - Jarvis Cocker, Vocals, AssociatedPerformer, ComposerLyricist - Francis White, Vocalist, AssociatedPerformer - Tony Scott, Producer, Co-Producer - Catherine Bradshaw, Viola, AssociatedPerformer - Steve Mackey, Bass Guitar, AssociatedPerformer, ComposerLyricist - Scott Walker, Producer, Mixer, String Arranger, AssociatedPerformer, StudioPersonnel - Candida Doyle, String Arranger, Keyboards, AssociatedPerformer, ComposerLyricist - Nick Banks, Drums, AssociatedPerformer, ComposerLyricist - Helen Hathorn, Violin, AssociatedPerformer - Mark Webber, Strings, AssociatedPerformer, ComposerLyricist - Pulp, MainArtist - Brian Gascoigne, String Arranger, AssociatedPerformer - Chris Fielding, Vocalist, AssociatedPerformer - Tim Burrell, Mastering Engineer, StudioPersonnel - Rachel Stephanie Bolt, Violin, AssociatedPerformer - Julian Poole, Percussion, AssociatedPerformer - Christian Hutter, Acoustic Guitar, AssociatedPerformer - H. Paul Morgan, Double Bass, AssociatedPerformer - Andrew Bagnall, Additional Vocals, AssociatedPerformer - Taniesha Carnagie, Guitar, AssociatedPerformer - John Mainwaring, Vocalist, AssociatedPerformer - Adriana Forster, Guitar, Vocals, AssociatedPerformer - David McVay, Viola, AssociatedPerformer

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

10
Roadkill
00:04:15

Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - PETER WALSH, Producer, Mixer, Engineer, Co-Producer, StudioPersonnel - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer, Mixer, StudioPersonnel - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

11
Sunrise (Original Mix)
00:05:52

Isobel Griffiths, Unknown, Other - Chris Blair, Mastering Engineer, StudioPersonnel - Matt Lawrence, Asst. Recording Engineer, StudioPersonnel - Jenny O'Grady, Vocal Arranger, AssociatedPerformer - PETER WALSH, Producer, Engineer, Co-Producer, StudioPersonnel - Clive Goddard, Engineer, StudioPersonnel - Richard Hawley, Steel Guitar, AssociatedPerformer - Jarvis Cocker, ComposerLyricist - Steve Mackey, ComposerLyricist - Scott Walker, Producer - Candida Doyle, ComposerLyricist - Nick Banks, ComposerLyricist - Mark Webber, ComposerLyricist - Pulp, MainArtist - The Metro Voices, Unknown, Other - Brian Gascoigne, Vocal Arranger, AssociatedPerformer - Julian Poole, Percussion, AssociatedPerformer - Peter Patrick Mansell, ComposerLyricist

℗ 2001 Universal Island Records Ltd. A Universal Music Company.

Album Description

It was clear that This Is Hardcore was a difficult, turbulent experience for Pulp -- it was such a troubled-sounding record that it was hard to tell where they would go next. Apparently that was as true for the band as it was for the listeners, since Pulp spent over three years preparing an album, cutting nearly a full record with longtime producer Chris Thomas before scrapping it all and entering the studio with cult hero (and Jarvis Cocker inspiration) Scott Walker. The pairing was intriguing but problematic, since Walker is not known as a producer and his recent recordings, such as Tilt and Pola X, were as inscrutable as Cocker was lucidly literate. Miraculously, the pairing resulted in the vibrant, reaffirming reinvention of We Love Life, an album that hints at music from Pulp's distant past (it's much closer to It than anything they've done since, though it has elements of the epics scattered through His 'n' Hers) while finding a new voice for the band and Jarvis as a lyricist. It's easy to see that this is a mature album, but that suggests a studied self-consciousness and safe, coffee-table artiness. This is maturation in a different sense -- Cocker has lived through dark times, as was evident in This Is Hardcore, and still sees difficulty in the present and past (the haunting centerpiece of "Wickerman"), but here he embraces life, even seeing his place in the grand scheme of things. Previously, Pulp's sleek music had been as darkly romantic as a drunken late night in a metropolis, and Cocker's lyrics were wittily urbane, embracing and mocking the idiosyncrasies of contemporary life, but here the music is considerably more organic -- Candida Doyle's synth, a former signature, can barely be heard -- and Cocker's elaborately detailed lyrics are trim and focused, filled with nature imagery. This is hardly a pastoral album, though, even with the occasional string section and acoustic guitars, nor does this sound like Pulp's version of a Scott Walker album. Instead, this is an emotional and musical breakthrough, finding the band leaping beyond the claustrophobic Hardcore and consolidating their previous obsessions, creating a textured, reflective record that in its own measured way is as impassioned as Different Class -- it's just that Jarvis is railing against the impulses within himself, and he winds up finding a way out. As such, We Love Life is warm and embracing, even when it delves into darkness, never nearly as despairing as Hardcore, and nearly as affirming as Different Class. And if that record was the mis-shaped misfit finally letting the world know that he was special, this is that same misfit turning inward, realizing that the world itself is special. Not the kind of thing that results in a massive hit, but it's tremendously rewarding all the same.
© Stephen Thomas Erlewine /TiVo

About the album

Distinctions:

Improve this page

Qobuz logo Why buy on Qobuz...

On sale now...

Ommadawn

Mike Oldfield

Ommadawn Mike Oldfield

The Snow Goose

Camel

Hergest Ridge

Mike Oldfield

Hergest Ridge Mike Oldfield

Aqualung

Jethro Tull

Aqualung Jethro Tull
More on Qobuz
By Pulp

Dogs Are Everywhere

Pulp

Different Class

Pulp

Different Class (Deluxe Edition)

Pulp

This Is Hardcore

Pulp

Little Girl (with Blue Eyes)

Pulp

Playlists

You may also like...

I Still Have Faith In You / Don't Shut Me Down

Abba

Random Access Memories (Hi-Res Version)

Daft Punk

Chemtrails Over The Country Club

Lana Del Rey

Reprise

Moby

Reprise Moby

...‘Til We Meet Again - Live

Norah Jones

In your panoramas...
Britpop in 10 Albums

“If punk was about getting rid of hippies, then I'm getting rid of grunge.” It was with this sentence from Damon Albarn in 1993 that England invaded the stage previously dominated by Nirvana and Seattle grunge. Britpop is deeply linked to politics and local identity and emerged just as Tony Blair and New Labour were entering the scene. English romanticism was once again becoming attractive compared to the American identity, which was considered too hollow in the UK. Make way for “Cool Britannia”.

Joni Mitchell: the Blue Period

An immaculate masterpiece of 70's folk, 'Blue' celebrates its 50th birthday this year. And it hasn't aged a day. But why are artists the world over still so fascinated by this fourth, intimate album by the Canadian singer-songwriter?

What's Going On, Marvin ?

In the beginning, there was "What's Going On", one of the greatest soul records ever, released 50 years ago. This is the story of how Marvin Gaye changed the history of the Motown label and of popular music in the 1970s.

In the news...