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Mother, Brother, Lover: Selected Lyrics
Jarvis Cocker is widely regarded as one of the most original and memorable lyricists and performers of the last three decades. Here, for the first time, is a selection of sixty-six lyrics, presented with commentary and an introduction by the man himself.
In this volume, readers (and Pulp fans) will find such classic Jarvis lyrics as 'Common People', 'Disco 2000', 'Babies', 'This is Hardcore' and 'Do You Remember the First Time?' The selection, assembled by the author, reveals a sensibility that is unmistakeably Jarvis: a sometimes visceral, sometimes everyday take on love, relationships and the things we do to each other when the lights get low.
Mother, Brother, Lover takes the reader on a thirty-year tour into the life, art and preoccupations of one of the great British artists of the late twentieth century. Shocking, sharp, clever and funny, it is a beautiful collection of lyrics and commentary.
In this volume, readers (and Pulp fans) will find such classic Jarvis lyrics as 'Common People', 'Disco 2000', 'Babies', 'This is Hardcore' and 'Do You Remember the First Time?' The selection, assembled by the author, reveals a sensibility that is unmistakeably Jarvis: a sometimes visceral, sometimes everyday take on love, relationships and the things we do to each other when the lights get low.
Mother, Brother, Lover takes the reader on a thirty-year tour into the life, art and preoccupations of one of the great British artists of the late twentieth century. Shocking, sharp, clever and funny, it is a beautiful collection of lyrics and commentary.
170 pages, Hardcover
First published October 20, 2011
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Displaying 1 - 30 of 58 reviews
November 27, 2011
This sounds like an insult, but its a compliment. Jarvis Cocker is a low-rent Noel Coward. I am a huge fan of song lyrics turned into books. Some of my favorite are Cole Porter and Ira Gershwin. There is something sweet about reading lyrics away from the music world - and into the world of books. Of course the works were originally meant to be with the melody, but by reading the lyrics as text, it gives the work another dimension.
"Mother, Brother, Lover" is almost an non-literal diary for Cocker, as a lot of the songs are based on real incidents, real people, but of course re-done by the magic of Jarvis. All the hits are here, but a lot of B-Side pieces as well as works he wrote for others. And yes, the other songwriter he reminds me of is Ray Davies. The common thing he has with Davies and Coward is a sense of place (U.K.) and shared national point of view of the world because of the location. Also Cocker has a knack of writing that goes directly to the subject. He doesn't hide behind language, which is sometimes great of course, but for someone like Jarvis, he needs to be direct and quick. His genius if he has it, is his character. And reading "Mother, Brother, Lover" you get a lot of character, which by the way is excellent.
"Mother, Brother, Lover" is almost an non-literal diary for Cocker, as a lot of the songs are based on real incidents, real people, but of course re-done by the magic of Jarvis. All the hits are here, but a lot of B-Side pieces as well as works he wrote for others. And yes, the other songwriter he reminds me of is Ray Davies. The common thing he has with Davies and Coward is a sense of place (U.K.) and shared national point of view of the world because of the location. Also Cocker has a knack of writing that goes directly to the subject. He doesn't hide behind language, which is sometimes great of course, but for someone like Jarvis, he needs to be direct and quick. His genius if he has it, is his character. And reading "Mother, Brother, Lover" you get a lot of character, which by the way is excellent.
June 29, 2024
Jarvis insists that these are lyrics rather than poems. It seemed odd reading some of them without hearing the music playing at the same time. The introduction and his notes on the lyrics upped the score for me.
December 30, 2014
Why only 4 stars from a big fan of Pulp and Jarvis, and who likes the design of the book?
I would have liked more explanatory notes and background stories, mostly. There are some of course, but far more about a few songs than about most of them - 38 pages of notes for 70 songs (including several pages of a story Jarvis wrote for Time Out).
Also, the lyric selection, whilst generally good, sometimes misses the mark. Apparently Jarvis doesn't like a lot of his earlier material even though many others - collaborators and fans - disagree; perhaps this is why some fantastic older Pulp lyrics aren't here, such as Death II, Death Goes to the Disco, Live On and Styloroc: Nites of Suburbia. And there are a few very weak later ones, such as Help The Aged, which really shouldn't be in this collection.
In the introduction, Jarvis describes his own relevatory experience, listening to Pink Floyd as a teenager, of the way in which reading lyrics can diminish a song. Occasionally this happens here, for example with This Is Hardcore a song much of whose sense of dread and deadness comes from the music and the delivery of the words.
But more often than not, I've found that reading these lyrics added to the songs. The dense story of the Inside Susan trilogy comes into its own on paper, for one.
Unlike everyone else of my age in Britain, I've never been that keen on most of the Different Class album (nor am I that into Pulp's subsequent work). But, wow. The lyrics from that album stand alone as poetry. They are serious five-star stuff. Common People has an insight and almost painful bite which is easily concealed in the poppy tune that became an indie-disco cliche. I prefer the Different Class lyrics without the melodies. The lack of sound - of the singer's own voice - also makes Jarvis' character songs from throughout his career easier to discern and understand.
The era of His N Hers (and its B-sides) and Different Class still read like the artistic high watermark, with most great lyrics uninterrupted by lesser ones - but the development and change of Jarvis' artistic voice as he grows older is still very interesting. There is a dark and self-deprecating awareness that comes in from This Is Hardcore onwards. A commentary on the id underlying the public persona of Jarvis Cocker the national treasure. (The nation's favourite ... dirty old man?). And perfectly encapsulating facets of pop music and entertainment media itself, Fuckingsong: "every time you play it I will perform the best I can. Press repeat and there I am, and there I am, always glad to be your man. And this way, oh well there won't be any mess, As I assure you that there would be in the flesh".
I would have liked more explanatory notes and background stories, mostly. There are some of course, but far more about a few songs than about most of them - 38 pages of notes for 70 songs (including several pages of a story Jarvis wrote for Time Out).
Also, the lyric selection, whilst generally good, sometimes misses the mark. Apparently Jarvis doesn't like a lot of his earlier material even though many others - collaborators and fans - disagree; perhaps this is why some fantastic older Pulp lyrics aren't here, such as Death II, Death Goes to the Disco, Live On and Styloroc: Nites of Suburbia. And there are a few very weak later ones, such as Help The Aged, which really shouldn't be in this collection.
In the introduction, Jarvis describes his own relevatory experience, listening to Pink Floyd as a teenager, of the way in which reading lyrics can diminish a song. Occasionally this happens here, for example with This Is Hardcore a song much of whose sense of dread and deadness comes from the music and the delivery of the words.
But more often than not, I've found that reading these lyrics added to the songs. The dense story of the Inside Susan trilogy comes into its own on paper, for one.
Unlike everyone else of my age in Britain, I've never been that keen on most of the Different Class album (nor am I that into Pulp's subsequent work). But, wow. The lyrics from that album stand alone as poetry. They are serious five-star stuff. Common People has an insight and almost painful bite which is easily concealed in the poppy tune that became an indie-disco cliche. I prefer the Different Class lyrics without the melodies. The lack of sound - of the singer's own voice - also makes Jarvis' character songs from throughout his career easier to discern and understand.
The era of His N Hers (and its B-sides) and Different Class still read like the artistic high watermark, with most great lyrics uninterrupted by lesser ones - but the development and change of Jarvis' artistic voice as he grows older is still very interesting. There is a dark and self-deprecating awareness that comes in from This Is Hardcore onwards. A commentary on the id underlying the public persona of Jarvis Cocker the national treasure. (The nation's favourite ... dirty old man?). And perfectly encapsulating facets of pop music and entertainment media itself, Fuckingsong: "every time you play it I will perform the best I can. Press repeat and there I am, and there I am, always glad to be your man. And this way, oh well there won't be any mess, As I assure you that there would be in the flesh".
October 19, 2015
Can I hold you? Forever in acrylic afternoons. I never said I was deep. Sitting in The World's End with some indie friends...
En DIY-ljudbok; under ett par kvällar har jag suttit med Spotify i ena handen och Jarvis 66 samlade texter i den andra, för närläsning. Låttexterna är placerade i kronologisk ordning. Först ut blir då 'My Lighthouse' och längst bak kan man läsa Le Jarvs kommentar:
"I'd seen the Jean-Jacques Beineix film Diva at the cinema some time before. There was a character in the film who lived in a lighthouse, which struck me as the height of sophistication at that time."
I den här podcasten har intervjuaren lånat Pulprader till sina frågor:
http://www.podcastchart.com/podcasts/...
Planerar så klart en tur till Sheffield!
En DIY-ljudbok; under ett par kvällar har jag suttit med Spotify i ena handen och Jarvis 66 samlade texter i den andra, för närläsning. Låttexterna är placerade i kronologisk ordning. Först ut blir då 'My Lighthouse' och längst bak kan man läsa Le Jarvs kommentar:
"I'd seen the Jean-Jacques Beineix film Diva at the cinema some time before. There was a character in the film who lived in a lighthouse, which struck me as the height of sophistication at that time."
I den här podcasten har intervjuaren lånat Pulprader till sina frågor:
http://www.podcastchart.com/podcasts/...
Planerar så klart en tur till Sheffield!
May 28, 2025
I have loved Pulp since I second heard them. That's not a typo. When I first listened to their seminal album, Different Class, I wasn't sure about it. So, I looked through your booklet and read that Jarvis advised to listen to it again if you didn't care for it the first time around. I did, and I fell in love. It really was just as I wrote. That had never happened before. It has happened since, but only because I hear Cocker's voice in my head telling me to give it another listen.
The thing that I love about Cocker's lyrics is that they are simply short stories. Without his phrasing, the lyrics would never work. His syllables never seem to work from line to line, but the way he sings them, they do. I've heard other people sing his songs (Marianne Faithfull and Charlotte Gainsbourg), and they necessarily have to phrase the lyrics like he did or would. Poetry? I don't think so. Prose? Definitely. Lyrics? Complex, but absolutely.
The thing that I love about Cocker's lyrics is that they are simply short stories. Without his phrasing, the lyrics would never work. His syllables never seem to work from line to line, but the way he sings them, they do. I've heard other people sing his songs (Marianne Faithfull and Charlotte Gainsbourg), and they necessarily have to phrase the lyrics like he did or would. Poetry? I don't think so. Prose? Definitely. Lyrics? Complex, but absolutely.
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February 12, 2022DND at 51%
Yep, Jarvis was right. Lyrics reads weird without music.
Yep, Jarvis was right. Lyrics reads weird without music.
November 24, 2011
A very lovely read, not only considering Jarvis' wonderful insights into the songs - all collected at the back of the book - but for the weirdness of reading the lyrics while not listening to the songs (which goes against the Cocker ethos of never simultaneously reading the lyrics whilst listening).
An indie-and-pop-loving child of the 90s, I engulfed "Different Class" when it came out in all its forms, even bought some Pulp deluxes, but this volume speaks heaps. It's nicely formatted, and reading the lyrics when shaped like they are in this book, serifed with completely different formatting than in the album sleeves, brings them to life again.
And there's more to just Pulp here, songs that he's written for his solo albums as well as for Charlotte Gainsbourg and Marianne Faithfull, including short essays and a short one from Relaxed Muscle, his very short musical project.
All in all: a nice read, with terrific insights into Sheffield culture, the place that spawned Cocker and influenced his songs a lot.
An indie-and-pop-loving child of the 90s, I engulfed "Different Class" when it came out in all its forms, even bought some Pulp deluxes, but this volume speaks heaps. It's nicely formatted, and reading the lyrics when shaped like they are in this book, serifed with completely different formatting than in the album sleeves, brings them to life again.
And there's more to just Pulp here, songs that he's written for his solo albums as well as for Charlotte Gainsbourg and Marianne Faithfull, including short essays and a short one from Relaxed Muscle, his very short musical project.
All in all: a nice read, with terrific insights into Sheffield culture, the place that spawned Cocker and influenced his songs a lot.
November 18, 2014
The perfect lyrics from jarvis Cocker, The perfect words and lovely themes. Is a great man. In youtube can find the SW festival, one hour whith him talking about his book. LIKE!
June 8, 2022
"NB Please do not read the lyrics whilst listening to the recordings."
As someone who is a heathen and ignoramus when it comes to Jarvis Cocker, reading his lyrics book MOTHER, BROTHER, LOVER was quite a fascinating experience. Having no real knowledge of how most of these songs go, this ultimately read like a poetry book, one that blends socio-political anthems with semi-autobiographical songs on love, loneliness, fame, and lust. I feel like I know the songwriter now better than if I listened to the songs first. This is a fascinating exercise, and a gamble on my part that paid off immensely well.
As someone who is a heathen and ignoramus when it comes to Jarvis Cocker, reading his lyrics book MOTHER, BROTHER, LOVER was quite a fascinating experience. Having no real knowledge of how most of these songs go, this ultimately read like a poetry book, one that blends socio-political anthems with semi-autobiographical songs on love, loneliness, fame, and lust. I feel like I know the songwriter now better than if I listened to the songs first. This is a fascinating exercise, and a gamble on my part that paid off immensely well.
January 8, 2023
Més enllà de la GentNormal en Cocker és un brillant contista d’històries quotidianes salpebrades de realitat i detalls. De moment de cançó en cançó.
December 5, 2023
Although being warned by the author himself in the intro, reading lyrics on paper is such a dispiriting experience. What sounds great hidden behind the right tones and melodies looks so plain, childish and repetitive on paper. Jarvis is a genius but this is the worst form to show for it.
September 29, 2022
Lyrics do read weird without music but going through this listening to the songs was fun. The intro and sleeve notes at the end were great.
August 14, 2025
No Underwear? Cocker, you're a goddamn disgrace. Go jump outta window.
October 17, 2020
Reflections and lessons learned:
In a time of grinning, over the top positivity smeared on top of crappy living, here lies a shot of British reality in a re-read for me....
In a dream I walk into a full on shiny middle class kitchen - all mod cons, large cheap chrome sink to be ignored and a tiny island crowbarred in (despite there not being enough room). I want to own this room, and live that life - where any stray toast crumbs instantly vanish from surfaces, as do tea bag droplets. Jarvis stands in the corner of the room, hands in his pockets, kicking at a small unfinished wooden door hidden behind the large designer fridge. Behind the door is a cellar covered in old dusty bookcases, a wrecked beanbag, a bit of rising damp and lyrics painted in white paint on the untreated cobweb strewn dirty walls. One of the books details all the faults in the kitchen, including the rationale of the cost cutting cheapo sink which I’ve already accepted as part of the fixtures and fittings. Where do I want to spend more time now...? Veneered or just beneath the surface sneering but trying to understand. I never said I was deep...
After spending valuable, virtual, lockdown connection time in the Domestic disco with Cocker and Kim, this seemed like the perfect time to enjoy the lyrics. So alien and familiar all at the same time, will life always be like this? As this was all out at the time when we were buying hard format music, and enjoying cd single ‘sleeve’ notes, the warning was not to read lyrics along with the music, I tried not to apply the words to a tune, but with so many of the songs, this was hard...
“In the meantime we try, try to forget that nothing lasts forever”
In a time of grinning, over the top positivity smeared on top of crappy living, here lies a shot of British reality in a re-read for me....
In a dream I walk into a full on shiny middle class kitchen - all mod cons, large cheap chrome sink to be ignored and a tiny island crowbarred in (despite there not being enough room). I want to own this room, and live that life - where any stray toast crumbs instantly vanish from surfaces, as do tea bag droplets. Jarvis stands in the corner of the room, hands in his pockets, kicking at a small unfinished wooden door hidden behind the large designer fridge. Behind the door is a cellar covered in old dusty bookcases, a wrecked beanbag, a bit of rising damp and lyrics painted in white paint on the untreated cobweb strewn dirty walls. One of the books details all the faults in the kitchen, including the rationale of the cost cutting cheapo sink which I’ve already accepted as part of the fixtures and fittings. Where do I want to spend more time now...? Veneered or just beneath the surface sneering but trying to understand. I never said I was deep...
After spending valuable, virtual, lockdown connection time in the Domestic disco with Cocker and Kim, this seemed like the perfect time to enjoy the lyrics. So alien and familiar all at the same time, will life always be like this? As this was all out at the time when we were buying hard format music, and enjoying cd single ‘sleeve’ notes, the warning was not to read lyrics along with the music, I tried not to apply the words to a tune, but with so many of the songs, this was hard...
“In the meantime we try, try to forget that nothing lasts forever”
January 2, 2013
Utterly absorbing to have Jarvis's best lyrics presented together to get lost in for a few hours. Reading them without the melody brings new appreciation of just what clever social commentary he provides. I really enjoyed the insights into his thoughts when writing some of them, but felt a couple were a bit desultory, and I would have liked more (every fab would). I thought the majority were quite insightful though and he does explain that he hates writing them, so fair enough for not being about to articulate the meaning behind every last word, when probably there is none.
March 16, 2013
Jarvis Cocker. Lyrical Genius. Fact.
May 14, 2017
This book is full of poetry, not lyrics.
January 10, 2022
Ruined the magic for some tracks, clarified the lyrics and surprise meaning of others. That's the gamble of reading a book of lyrics. Definitely interesting, more for the preamble and essay at the start that discusses the meaning of lyrics and the humdrum affair of having to write them. For someone who managed to write some stunning lyrics in his time (and continues to do so), it's a surprise to see him disparage what could be considered the core of songwriting. That's a topic for another day though. Interesting collection of lyrics, not the most obvious choices either, there are some that were just written by Jarvis Cocker, not performed by him.
A little glossary at the back does well to explain a few of the smaller or niche details. All in all, very good for those that know what they want from a book of Cocker's lyrics.
A little glossary at the back does well to explain a few of the smaller or niche details. All in all, very good for those that know what they want from a book of Cocker's lyrics.
June 30, 2018
An easy bingo win when my library book group chose the theme 'family members', this book of Jarvis Cocker lyrics is described by him as 'not poetry'. Near as dammit, though an eerie experience for a reader who somehow missed all the Britpop/Cool Britannia stuff. I feel as though I need to go away and have a good listen to Pulp for added dimension. The work stands on its own though, needing no more notes than many slim volumes of poetry (no fewer either) I enjoyed the curious knowing yet straightforward approach.
June 13, 2019
after a couple of lyrics i read, i started think same as author regarding no-one should judge lyrics independent of the composed music as he has suggested this statement in the foreword to the book which i read that part twice, because he kinda refuted the idea of a book containing lyrics ... then he kinda proved that idea by showing how lyrics are terribly bad without context/music by writing this book.
April 16, 2021
As a person who loves to read the lyrics, I found this book is interesting. I only listen to the songs on Spotify, never bother the lyrics. I'm not a big fan of Pulp, so it really startled me when I read the lyrics.
I don't know how to describe it, because it just another experience for me. Not all songs can be put in a book like this. And I love it!
I don't know how to describe it, because it just another experience for me. Not all songs can be put in a book like this. And I love it!
November 28, 2018
Having followed the rule "Please do not read the lyrics whilst listening to the recordings" caused a few mis heard lyrics. Glad they are now sorted out. Only 3 stars as the music has been vital to these words for so long, they need to go hand and hand. Having said this, Jarvis is a lyrical genius!
May 31, 2018
Love Jarvis! Although I wish there were a few more notes about the songs.
May 4, 2019
Life, in a nutshell.
June 3, 2019
I’m a big fan of Pulp so got this book just because of that. It’s really cool to get an insight into why the songs were written and what they meant to Jarvis Cocker.
April 2, 2020
The man's lyrics read like poems and are by turns unexpectedly funny and sad.
October 18, 2020
I missed Sheffield
December 16, 2020
So Pulp, eh? Possibly – nah, probably – the best band to emerge from the Britpop years of hype and arse-smacking heroin chic.
The group – in existence since 1978, if you can believe it – weren't typically sexy. I mean, there was an effort to evoke a certain PR sexiness from lyricist Jarvis Cocker's gangly frame, but it wasn't the body that made him sexy: it was the combination of his writing, and of sex itself.
See, even though Pulp are probably best-known to those outside their core fanbase for a song about rich students slumming it, what they most often write about is sex, in all its amateur-video, uncomfortable, funny, transformative and debasing forms. Turns out that one of the best chroniclers of the stolen shag, the furtive knee-trembler was a bloke who seems to have spent the past couple of decades cultivating what can only be described as Geography Teacher Chic.
I became a fan of Pulp because of their relentless Englishness – their Northern grimness. They were the aural equivalent of a Mike Leigh film, something that you probably shouldn't be staring at but that you can't turn away from. I heeded the liner notes' admonitions not to read the lyrics while listening to the albums (a Cocker bugbear) and inhaled the band's take on love, sex and death in the shadow and the sublets of industrial decline.
More than other groups from the period, I felt Pulp were more nakedly honest: there was no slumming (Suede), no pot-shots in order to be the funny man (Blur), no maaaaaaate cliquishness (Oasis) and not a lot of weirdness for the sake of it (Radiohead). While cynicism does appear, there was the sense that things were being recounted openly, with a sort of honesty that others were a bit scared by. I mean, you can't help but ache for some of the people in these tunes, whether they're about missing out on love by this much, or about the travails of toxic masculinity, or the terrors of age.
Mother, Brother, Lover presents 66 of Cocker's lyrics, with annotations and an introduction. While there's a whack of songs from collaborations and his solo works, most of the choices are from Pulp's Gift Recordings compilation onwards. Different Class features heavily, as you'd expect it to given the heavyweight status of the album in the band's catalogue. The footnoting given the songs is helpful – Cocker wryly explains tune origins and gives the non-Sheffielder a sense of place and genesis – though not thoroughly effusive. I'd love to learn more about a lot of what's in here, but I suspect that's the sort of detail that is likely to surface only in an (auto)biography.
Jarvis doesn't believe that these works are any cop as poetry, and he is adamant that the words to songs are not all that important. What comes across with these words, stripped of their musical spine, is that they are able to stand on their own, in that Wildean, in-the-gutter-looking-at-the-stars kind of way. The turn of phrase is enviable, and it is rare that a lyric sheet passes without a section that touches the reader just so. Maybe I'm sentimental, but this is a rare gift.
While it's tempting to take something like 'Cunts Are Still Running The World' as an indicator of Cocker's curmudgeonliness, there's too much introspection and open-hearted embrace of the potential and pitfalls of love to write him off as Lou Reed in smeared specs. This collection is testament to Cocker's and Pulp's greatest achievement: to elevate the lives of the everyday in a way that encourages people to consider, rather than ignore.
The group – in existence since 1978, if you can believe it – weren't typically sexy. I mean, there was an effort to evoke a certain PR sexiness from lyricist Jarvis Cocker's gangly frame, but it wasn't the body that made him sexy: it was the combination of his writing, and of sex itself.
See, even though Pulp are probably best-known to those outside their core fanbase for a song about rich students slumming it, what they most often write about is sex, in all its amateur-video, uncomfortable, funny, transformative and debasing forms. Turns out that one of the best chroniclers of the stolen shag, the furtive knee-trembler was a bloke who seems to have spent the past couple of decades cultivating what can only be described as Geography Teacher Chic.
I became a fan of Pulp because of their relentless Englishness – their Northern grimness. They were the aural equivalent of a Mike Leigh film, something that you probably shouldn't be staring at but that you can't turn away from. I heeded the liner notes' admonitions not to read the lyrics while listening to the albums (a Cocker bugbear) and inhaled the band's take on love, sex and death in the shadow and the sublets of industrial decline.
More than other groups from the period, I felt Pulp were more nakedly honest: there was no slumming (Suede), no pot-shots in order to be the funny man (Blur), no maaaaaaate cliquishness (Oasis) and not a lot of weirdness for the sake of it (Radiohead). While cynicism does appear, there was the sense that things were being recounted openly, with a sort of honesty that others were a bit scared by. I mean, you can't help but ache for some of the people in these tunes, whether they're about missing out on love by this much, or about the travails of toxic masculinity, or the terrors of age.
Mother, Brother, Lover presents 66 of Cocker's lyrics, with annotations and an introduction. While there's a whack of songs from collaborations and his solo works, most of the choices are from Pulp's Gift Recordings compilation onwards. Different Class features heavily, as you'd expect it to given the heavyweight status of the album in the band's catalogue. The footnoting given the songs is helpful – Cocker wryly explains tune origins and gives the non-Sheffielder a sense of place and genesis – though not thoroughly effusive. I'd love to learn more about a lot of what's in here, but I suspect that's the sort of detail that is likely to surface only in an (auto)biography.
Jarvis doesn't believe that these works are any cop as poetry, and he is adamant that the words to songs are not all that important. What comes across with these words, stripped of their musical spine, is that they are able to stand on their own, in that Wildean, in-the-gutter-looking-at-the-stars kind of way. The turn of phrase is enviable, and it is rare that a lyric sheet passes without a section that touches the reader just so. Maybe I'm sentimental, but this is a rare gift.
While it's tempting to take something like 'Cunts Are Still Running The World' as an indicator of Cocker's curmudgeonliness, there's too much introspection and open-hearted embrace of the potential and pitfalls of love to write him off as Lou Reed in smeared specs. This collection is testament to Cocker's and Pulp's greatest achievement: to elevate the lives of the everyday in a way that encourages people to consider, rather than ignore.
August 16, 2022
Common People true lyrical genius it remains unparalleled to this day
April 4, 2023
I COULDN'T READ THEM WITHOUT SINGING THEM IN MY HEAD IM SORRY JARVY
Displaying 1 - 30 of 58 reviews