Pop Is Dead (single)
Its not very long, its only two and a half minutes and is going to be backed with a new acoustic song called Banana Co and live versions of Creep and Ripcord. Pop is Dead is like an explanatic statement kind of thing, Oh no pop is dead it died a horrid death by back catalogue. It basically says that you can only sell so many albums before everyone has got one. It’s nice to make a few statements for people to react against it and say oh no it’s not.
Jonathan is adamant, “Because people have got the album. If they want to hear things from the album they can go and buy it. »
Colin: « Also, we’re a right-on bunch of people. »
Thom: “We’ve got a lot of new material that we want to release. Everybody who heard it said we should release it. Anyhow, we don’t want to do an REM. »
Colin: “ I mean, they’re releasing ‘Everybody Hurts »’ “Fourth track off the album? » Jonathan queries in the tone of a man who is giving someone the benefit of the doubt, “I mean they’ve sold the bloody album. It’s just an excuse for Stipe to do another video. »
Was there any resistance from Parlophone about releasing ‘Pop is Dead’?
Colin: “Yes, they said ’No’. »
Thom: “Did they? »
Colin, smugly, “But we had the statistics to back us up. Frank and Walters’ label carried out a survey which showed that releasing another single after the album came out did not increase album sales. » Jonathan: “And was also very, very expensive. » Thom: “‘Pop is Dead’ marks a point. It puts a full stop on what we’ve been trying to say for ages. And now we can move on as a progression rather than ‘that’s it, bye bye’. It’s a very vitriolic song and I think it homes in on what people think. »
Colin: “The kids will like it. »
Jonathan: “I’m a kid. I like it. »
Thom: “Our audiences now know all the words to it which is very interesting seeing as it’s never been played other than live. Perhaps there are some bootlegs floating around. It had different mixes one of which was done by Al Clay who did Frank Black. Wasn’t very good. »
Jonathan: “And Dave Bascombe – which was very expensive and even worse. »
Colin: “l liked it. »
Thom: “‘Cos it was radio-friendly. »
Colin: “It was. Very commercial. I’m the commercially-minded member of the band – along with Ed. »
Thom: “Jon refuses to sell out and I do occasionally. »
Colin: “Thom probably has the healthiest attitude. »
Mais avec le temps, le groupe va reconnaître que ce single était une grosse erreur :
“What’s going on there, then?” he’ll ask his boy, jabbing at the remote control switch. “You call that a music video? So why is there a lizard in that scene? Explain it to me.” He rewinds the tape just for the hell of it, thoroughly enjoying himself, as his guests chortle at the grand pretentiousness of it all.
“Look. A lizard. Call yourself an O’Brien? Do you, son?”
Ed: “The thing is, when ‘The Bends’ was released, we felt we were still fighting people’s preconceptions. We thought it was great – we don’t release a record unless we think it’s really good. But we’d had no critical acclaim, which is fair enough, because we were an incredibly inconsistent band.
“It’s not surprising people thought we were crap. And we’d released dodgy singles. ‘Pop Is Dead’ – I have to admit that was a rubbish record.”
Colin: “Keith Richards would say, it’s the price of an education…”
Shallow and short, it never transcends its contrived feel of Making A Statement. Released at a time when Suede were raising standards with their initial triad of classic singles, this flimsy 45 helped label Radiohead as makeweights.
2- Banana co (recorded live courtesy of Craig Cash at Signal Radio, Cheshire )
3- Creep (live at The Town & Country Club, London by Manor Mobile)
4- Ripcord (live at The Town & Country Club, London by Manor Mobile)
|Type||Maxi / Single|
|Date de sortie||10 mai 1993|
|Références catalogue||CDR 6345, 7243 8 80609 2 9|
|Studios d'enregistrement||Chipping Norton Studio, Oxon|
|Ingé. son||Barry Hammond|
|Design||Icon / Sonicon|
|Publié par||Warner Chappel Music|
|Studios de mixage||Chipping Norton Studio, Oxon|