An early version of the band formed in 1981 under the name From Eden; members included Clint Mansell, Adam Mole, Chris Fradgley, Malcolm Treece and Miles Hunt . Graham Crabb was recruited (Graham being the only respondant to replace the 'piss poor' Miles Hunt on drums). After From Eden splintered into two bands (Treece and Hunt went on to form The Wonder Stuff) Mansell, Crabb & Mole formed Wild and Wandering, recruiting Richard March on bass. They eventually became Pop Will Eat Itself in 1986, taking the name from a quote in an NME article about Pop 'eating itself' suggesting that popular music continues to recycle ideas.
The band honed their songwriting skills with a string of catchy two-minute pop songs released on EPs both as Wild and Wandering and Pop Will Eat Itself. With the help of DJ John Peel, these EPs saw some airplay and enjoyed some popularity among university students. After the band feared they had accomplished all they could with their sound, they found new influences in hip hop acts such as the Beastie Boys, Run DMC and Public Enemy. Graham soon dropped the drum sticks for a mic and was replaced by a drum machine called "Dr. Nightmare." Their style continued to develop with classics such as "There Is No Love Between Us Anymore' and the anthemic "Def Con One". As a result, PWEI were signed to major label RCA and they achieved top 40 hits with "Can U Dig It?" and "Wise Up! Sucker" off the album This Is the Day…This Is the Hour…This Is This!
RCA's larger studio budget allowed the band to develop its potential further, and they released 3 successful albums on that label. The first two (…This is This! and Cure for Sanity) were recorded with the aid of legendary producer Flood, known for his work with Nine Inch Nails, U2 and many other popular 90s groups. Cure for Sanity was perhaps PWEI's most experimental album, with a more electronic sound than previous efforts. RCA, meanwhile, was more interested chart success and so wanted the band to cut the lengthy instrumentals from their songs.
On 1992's The Looks or The Lifestyle, the band recruited a live drummer to complement their standard array of loops and pre-programmed drums and brought back some live guitars. The record was their most commercial and polished work to date, and was arguably the Poppies' high point, featuring top 20 hits like 'Karmadrome' and 'Bulletproof.' The single 'Get the Girl! Kill the Baddies!' registered as the band's biggest hit in January 1993. By this point, RCA had already grown tired of PWEI's stuborness and dropped them before the single was even released (the song went on to peak at 9 in the UK singles chart). Because of this, the band became the first ever to perform on Top of the Pops without being on a record label. The British National Party had recently caused an uproar in Tower Hamlets by winning a council seat, and it looked possible that the UK would see a revival in far right politics. In response to this, The Looks or the Lifestyle introduced a hitherto understated political angle, as the album inlay used the "red arrow" emblem of the Anti Nazi League and offered the organisation's address.
Getting dropped from RCA turned out to be a blessing for the Poppies, as the label agreed to write off the massive debts that the band had accumulated in studio fees in return for PWEI's back catalogue. After a minor bidding war, the Poppies decided to sign to Infectious Records, a label recently started by friend Korda Marshell (who had signed them to RCA in the first place but had since left the label) that offered them the artistic freedom they required.
PWEI maintained their stubbornly "cartoon like" image, despite producing thoughtful and often surprisingly dark tracks (for instance "Wake Up! Time To Die!", "88 Seconds", and "Mother").
PWEI's political stance became more explicit with the release of the single "Ich Bin Ein Auslander." A collaboration with Asian group Fun-Da-Mental, the song was scathing attack on the far right and the apathy that seemed to greet its resurgence. A different version of this song later appeared as the opening track on the 1994 album, Dos Dedos Mis Amigos.
By this time the band had toned down its garish public persona and veered off in a new and more industrial-based direction with the aid of long time fan Trent Reznor. Many fans were upset that the 'Is everybody happy?!' pogoing Poppies were gone and put off by the new direction, but the band found new popularity after signing with Reznor's Nothing Records in the US and touring with Nine Inch Nails, as well as having their songs used on the Playstation game 'Loaded'.
The following year the band released the Dos Dedos remix album Two Fingers My Friends which featured remixes by The Orb, Apollo 440, Renegade Soundwave and many more. It was about this time that Graham Crabb left the band and they recruited 'The Buzzard' of Yeah! God (who had recorded 'wild guitar' on previous albums but was never a full time member) and Clint took over full vocal duties. The band continued down the industrial route and were still recording and touring until 1996, even recording a collaboration with Orbital. Unfortunately, the band took a break before finishing production of their next album with Trent Reznor, and while not officially splitting, failed to complete the work citing boredom and musical differences. One track from this period was released, a cover of Gary Numan's "Friends," and provides some indication of the band's direction at the time.
A reunion of sorts happened in 2005 when the members performed eight gigs in the UK. Demos were also recorded during this time. However, Clint Mansell and Richard March were unable to continue with the reformation, and the remaining members have decided to pursue what the reformed PWEI started under the name Vileevils.
On February 23, 2010, a press release was issued to those on the dPulse Recordings mailing list, stating that Crabb would be discontinuing work on the Vileevils project, to concentrate on reviving Pop Will Eat Itself with a new PWEI album, new band and tour dates to be announced. On 11 May 2010, PWEI released the "Axe of Men 2010" single on a CD/DVD combination, featuring "Axe of Men 2010", a remastered "Sonic Noise Byte", and a DVD with Vileevils material.
In July 2011, a new line-up was announced, featuring Graham Crabb as the only original member, and Mary Byker undertaking co-vocalist duties. On October 3rd 2011 the album, New Noise Designed By A Sadist, was released on Cooking Vinyl, followed by a UK tour.
TBC
R.S.V.P.
Pop Will Eat Itself Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(No relation) Get Up, Get Out! (x3)
Go! Go! Go! Go!
(No relation) Get Up, Get Out! (x3)
Are you in or out, or in or out?
That way someday you may want to go
Fools pray that way, you can lay low
You'll get snowed in, I got no time
Big G, Little G, he don't wanna go
Out that way - a lame and tame show
If G Squad want me, they're going to have to say so
You may want me, but I don't want know
R.S.V.P! (x2)
(No relation) Get Up, Get Out! (x3)
Are you in or out, or in or out?
Say G, you've been acting like a brother (like a brother)
No way, man, you ain't nothing but a 'mutha
Huh! Another 'nother 'mutha
The shine of your shoes ain't nothing new
But if you lose the clues then I guess you're through
Cut down like a vegetable
By a hard kickin' mutha who's an animal
(No relation) Get Up, Get Out! (x3)
Are you in or out, or in or out?
Big G's happy, took another bite
Little G's angry, spoiling for a fight
His roots got ripped out, Little G flipped out
Shaking like a shitting dog, he couldn't work it out
Little G, Big G, R.S.V.P, I'm throwing at your window
Can you see me, hear me?
G's Squad want me, they're going to have to say so
You want me, but I don't want know
You can be what you wanted to be. (x6)
[CHORUS]
R.S.V.P. (x8)
Your invitation!
Pop Will Eat Itself's song "R.S.V.P." is a commentary on the concept of social hierarchies and the idea of fitting in with a certain group. The chorus repeats the phrase "Get Up, Get Out!" three times emphasizing the importance of taking action and making a decision, either to join a group or to stand out. The phrase "No relation" throughout the song suggests a sense of detachment and individuality, as if the singer is disconnected from the social constructs that are being presented.
The verses are a series of conversations between different characters, suggesting the complexities of social dynamics. The idea of being "cut down like a vegetable by a hard kickin' mutha who's an animal" speaks to the violence that can sometimes arise in these situations. The mention of "G Squad" adds to the idea of cliques and exclusionary groups.
Line by Line Meaning
(No relation) Get Up, Get Out! (x3)
Go! Go! Go! Go!
Encouraging someone to take action and move quickly without any hesitation, with no connection to anything else. Urging them to get out and go with no delay.
(No relation) Get Up, Get Out! (x3)
Are you in or out, or in or out?
Again, motivating someone to take action but first asking them if they want to be a part of it or not, if they are in or out of it.
That way someday you may want to go
Fools pray that way, you can lay low
Easy cop out, stay in and take-out
You'll get snowed in, I got no time
Suggesting that by choosing to lay low or be complacent, you may regret it in the future. Accusing those who do this of being foolish and taking the easy way out, that will ultimately lead them to being stuck and unable to move forward in life.
Big G, Little G, he don't wanna go
Out that way - a lame and tame show
If G Squad want me, they're going to have to say so
You may want me, but I don't want know
Outlining the different attitudes of those involved, with Big G not wanting to go and calling it boring while Little G is angry and ready for action. Stating that if G Squad wants their involvement they will have to ask directly for it, unlike someone else who may want it but isn't getting any response.
R.S.V.P! (x2)
(No relation) Get Up, Get Out! (x3)
Are you in or out, or in or out?
Repeating the invitation and question, asking if the listener is ready to take action and commit to this event or not.
Say G, you've been acting like a brother (like a brother)
No way, man, you ain't nothing but a 'mutha
Huh! Another 'nother 'mutha
Calling out someone for pretending to be on the same team, using brotherly terms, but then dismissing them as just another individual. Using slang terms and derogatory language to emphasize the point.
The shine of your shoes ain't nothing new
But if you lose the clues then I guess you're through
Cut down like a vegetable
By a hard kickin' mutha who's an animal
Pointing out that someone's appearance alone is not noteworthy or important, it's the substance and drive behind it that counts. Warning that if you lose sight of that, you will be taken down by someone who is ruthless and powerful.
(No relation) Get Up, Get Out! (x3)
Are you in or out, or in or out?
Again, urging someone to take action and commit to something, asking if they are ready to be in or out of it.
Big G's happy, took another bite
Little G's angry, spoiling for a fight
His roots got ripped out, Little G flipped out
Shaking like a shitting dog, he couldn't work it out
Showing the different emotions and reactions of Big G and Little G, with Big G being content and continuing on while Little G is upset and agitated, becoming physically affected by it. Indicating that Little G has lost the foundation that gave him stability and is now stressed and confused by it.
Little G, Big G, R.S.V.P, I'm throwing at your window
Can you see me, hear me?
G's Squad want me, they're going to have to say so
You want me, but I don't want know
Repeating the different names and the invitation to take action. Asking if they understand, indicating that G's Squad needs to be more direct in their request for involvement. Stating that someone else may want them but they are not interested in knowing.
You can be what you wanted to be. (x6)
[CHORUS]
R.S.V.P. (x8)
Your invitation!
Repeating the message that you have the ability to achieve what you set out to do, encouraging you to follow through. Repeating the chorus of the song, inviting people to take action and commit. Repeating the invitation to R.S.V.P and attend this event, emphasizing that the opportunity is there for the listener.
Lyrics © Universal Music Publishing Group
Written by: GRAHAM CHARLES CRABB
Lyrics Licensed & Provided by LyricFind