Had been kicking around since 1981, but for all intents and purposes, their 1994 major-label debut, is their de facto debut: the album that established their musical and lyrical obsessions and, in turn, the album where the world at large became acquainted with their glassy, tightly wound synth pop and lead singer 's impeccably barbed wit. This was a sound that was carefully thought out, pieced together from old glam and post-punk records, assembled in so it had the immediacy (and hooks) of pop balanced by an artful obsession with moody, dark textures. It was a sound that perfectly fit the subject at hand: it was filled with contradictions - it was sensual yet intellectual, cheap yet sophisticated, retro yet modern - with each seeming paradox giving the music weight instead of weighing it down. Given 's predilection for crawling mood pieces - such effective set pieces as the tense 'Acrylic Afternoons,' or the closing 'David's Last Summer' - and their studied detachment, it might easy to over-intellectualize the band, particularly in these early days before they reached stardom, but for all of the chilliness of the old analog keyboards and the conscious geek stance of, this isn't music that aims for the head: its target is the gut and groin, and has an immediacy that's apparent as soon as 'Joyriders' kicks the album into gear with its crashing guitars. It establishes not just as a pop band that will rock; it establishes an air of menace that hangs over this album like a talisman. As joyous as certain elements of the music are - and there isn't just joy but transcendence here, on the fuzz guitars that power the chorus of 'Lipgloss,' or the dramatic release at the climax of 'Babies' - this isn't light, fizzy music, no matter how the album glistens on its waves of cold synths and echoed guitars, no matter how much sex drives the music here. Doesn't tell tales of conquests: he tells tales of sexual obsession and betrayal, where the seemingly nostalgic question 'Do You Remember the First Time?'
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Is answered with the reply, 'I can't remember a worst time.' On earlier albums he explored similar stories of alienation, but on everything clicks: his lyrics are scalpel sharp, whether he's essaying pathos, passion, or wit, and his band - driven by the rock-solid drummer and bassist, along with the arty stylings of keyboardist and violinist/guitarist - gives this muscle and blood beneath its stylish exterior. The years etching out -inspired goth twaddle in the mid-'80s pay off on the tense, dramatic epics that punctuate the glammy pop of the singles 'Lipgloss,' 'Babies,' and 'Do You Remember the First Time?' And those years of struggle pay off in other ways too, particularly in 's carefully rendered observations of life on the fringes of Sheffield, where desperation, sex, and crime are always just a kiss away, and vividly evokes this world with a startling lack of romanticism but an appropriate amount of drama and a surplus of flair.
It's that sense of style coupled with their gut-level immediacy that gives its lasting power: this was 's shot at the big time and they followed through with a record that so perfectly captured what they were and what they wanted to be, it retains its immediacy years later.
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Released in 1994, His ‘n’ Hers was ’s breakthrough album some 16 years into their existence. It finally gave them a taste of success as well as introducing to the general public, just as Britpop – was released the week after, and were readying their second single – came along as a then-refreshing shot-in the-arm. From the opening Joyriders – “Oh you, you in the Jesus sandals, wouldn’t you like to come and see some vandals?” – it was clear the move to a major label had sharpened their sound and focus into a very appealing Alan Bennett / hybrid. His ‘n’ Hers presented insights into the sort of behaviour that might land one on a register of some kind today: being inept with women, hiding in wardrobes watching your sister having sex, failing to turn your husband on, illicit affairs while the old man’s away. Such observations, such cheeky voyeurism, over cheering art-pop set Pulp aside, into a field of one, attracting a vast army of the misfits they’d eventually celebrate. Singles included the trebly Lipgloss and the we’ve-all-done-it furtive fumblings of Do You Remember the First Time, beside a new mix of the majestic Babies.
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But these weren’t the only highlights. The economics of health reconsidered pdf to excel. There’s also the northern disco sheen of She’s a Lady; the detailing of the tease and eventual boredom of fetish with Pink Glove; the throbbing narration of David’s Last Summer; and the bosom-shifting gossip detail of Have You Seen Her Lately? Best of all, it was all served with an air-punching atmosphere of triumph, an almost celebratory feel.
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It seemed so far away from the mildly unsavoury fare that peers like Suede were offering. Apparently it missed out on the 1994 Mercury (Music) Prize, to ’s Elegant Slumming, by one vote. That didn’t matter in the grander scheme, as Pulp would soon go supernova – Common People and were just a year away. But His ‘n’ Hers remains a glorious notice of where the Pulp story really begins. A classic, basically.
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