Best albums of 1988: #1 The Pogues “If I should fall from grace with god”

Yeah. These guys. You know them. You love them.

Though it’s likely they didn’t actually invent the whole Celtic folk punk genre, The Pogues certainly popularized it, inspiring a whole boatload of next generation musicians to form bands like Flogging Molly, The Dropkick Murphys, and The Mahones. Interesting, then, that the group was formed in London, rather than Dublin, and only ever included two Irish born members in their large and rotating contingent.

Getting started in 1982 with original members Shane MacGowan, Spider Stacy, and Jem Finer, their name evolved out of an anglicisation of ‘póg mo thóin’, celtic for ‘kiss my arse’. The Pogues released a total of seven studio albums before calling it quits in 1996. However, for many, there’s only two albums in their catalogue (their second and third) that really mattered and between those two, the debate rages on over which is the superior.

For me, “If I should fall from grace with god” only just wins out over “Rum sodomy and the lash” and it is the mere presence of one great, transcendent song that will surely be discussed a little later that does the trick. Both albums are solid and complete albums. Where “Rum” is slightly more focused on the Celtic folk punk sound, however, “If I should fall from grace” branches out quite a bit more, dabbling and cavorting around the world of music. Many of the band’s contingent have also pointed to this album as their favourite and best, agreeing that nowhere else were they as on their game. And it’s true that as varied as the songs are across the track listing, nothing feels amiss or disjointed. An amazing feat considering the varied sounds and instrumentation that make up its whole and the contributions that included an additional eight musicians to the eight players that made up the band at that particular time.

There are fifteen tracks in total on “If I should fall from grace with god” from which I could have chosen my three picks for you, and one was a given, leaving me two. It was an onerous task but I perservered. You’re welcome.


“If I should fall from grace with god”: From what I’ve read, the title track on the album was originally recorded for the “Straight to hell” soundtrack, albeit at a slower speed. I’ve never heard it but don’t think I’d want to. The pace of the version on the album seems perfect to me, a rousing bar number that feels precariously close to shambles. And that’s the beauty of The Pogues, especially on this album, where the musicianship is so tight it feels loose and free. And I feel a lot of the credit has to go to the frontman at the time, the notorious Shane MacGowan, a deceptively great songwriter whose growling and screaming vocals create an energy all of their own. The rest of The Pogues’ cast can only help but follow along, navigating such speeds by the seats of their pants. “If I’m buried ‘neath the sod but the angels won’t receive me, let me go, boys.” Indeed, Shane, indeed.

“Thousands are sailing”: Starts off haunting with a pluck on the banjo and a hollow, echoing flute, sounding like they’re being played by the ghosts in the profound depths of the coffin ship’s hull. The music gets more spritely from there, gentle on the verses, just enough to urge MacGowan along with accordion melodies and incidental drumming, but picks up substantially at the choruses, drumming heavy handed and accordion, mandolin, and banjo becoming a hootenanny, almost drowning out the singing. Phil Chevron’s words as sung by MacGowan, though, never stray from the heartbreak, sowing the tale of thousands of Irish immigrants and of those who never actually survived the trip to the US shores. “Ah, no, says he, ’twas not to be. On a coffin ship I came here. And I never even got so far that they could change my name.”

“Fairytale of New York”: Not only is this now considered one of the all-time great Christmas tunes, ranking up there with Nat King Cole’s iconic “Christmas song”, Bing Crosby’s ubiquitous “Little Drummer Boy” duet with David Bowie, and Band Aid’s fundraising theme “Do they know it’s Christmas time”, but it’s also one of my all-time favourite Pogues tunes. At it’s heart, it’s a story of love that’s lost and found again on Christmas day, all brought to life by the excellent imagery of characters created in the juxtaposition of the rough and raucous voice of Shane MacGowan against the beautiful pipes of guest vocalist Kirsty MacColl. Her call and response banter, matching MacGowan’s snarl and rasp with just the right degree of attitude and defiance, really makes this song the classic that it is. Her disillusioned muse ‘character’ holds nothing back, even the love that she unbelievable still feels for the character of her drunken partner in MacGowan. The lyrics are grittier here than you would normally expect from a heartwarming Christmas tune but these just make the softer moments all the more mind blowing. Witness below:

Kirsty:
You took my dreams from me
When I first found you…

Shane:
I kept them with me babe
I put them with my own
Can’t make it all alone
I’ve built my dreams around you

Indeed, my wife Victoria loved these lyrics and the sentiment of building your dreams around someone you love so much that she insisted we work them into our own wedding vows almost 10 years ago. Who was I to argue?


In case you missed them, here are the previous albums in this list:

10. The Sugarcubes “Life’s too good”
9. Erasure “The innocents”
8. Billy Bragg “Worker’s playtime”
7. Jane’s Addiction “Nothing’s shocking”
6. Leonard Cohen “I’m your man”
5. R.E.M. “Green”
4. Pixies “Surfer rosa”
3. The Waterboys “Fisherman’s blues”
2. The Wonder Stuff “The eight legged groove machine”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Live music galleries: Ottawa Bluesfest 2019, day four – James, Psychedelic Furs, Ashley MacIsaac

(Since I’ll be too busy attending Ottawa Bluesfest over the next week or so to continue with this blog’s regularly scheduled programming, I thought I would do a special ‘live galleries’ series this week to share some pics from some of the sets I am enjoying.)

James concert T-shirt

Artists: James, Psychedelic Furs, and Ashley MacIsaac
When: July 7th, 2019
Where: Lebreton Flats Park, Ottawa

James… in Ottawa!

Some words: When the lineup for this year’s festival was announced months ago, I had to blink and wipe my eyes and do a bunch of double takes: James?!? One of my favourite ever bands, James? Sure enough, it was them and not some other group or artist with the same moniker. Pass purchased.

Those of you who have been following along with these pages for a while will know that I’ve been a fan of the Manchester-based, hit-making alternative rock collective for a while and that they are also one of my wife, Victoria’s all-time favourites. The two of us drove to Montreal to see them in a small club back in 2008 (still one of our favourite ever shows) so the drive downtown from the suburbs was a much quicker trip. James is amazing live and yesterday’s afternoon set was just more proof of that. Their big sound is definitely conducive to the festival concept and frontman Tim Booth is just as engaging with the bigger crowds. Of course, at just an hour it was way too short but they still managed to fit quite a few classics in with their new material, rousing even non-fans with their only hit to cross over to North America: “Laid”. (And as evidenced above, I did buy a concert tee, the first I’ve owned in over a decade.)

Unfortunately, the line Victoria and I picked for food after James’s set was the wrong one. The meal when we finally received it was tasty enough but the purveyors were so disorganized, the close to one hour wait wasn’t worth it. This also meant we listened to almost half of The Psychedelic Furs‘ set from said queue and by the time we were done eating, we were never ever to get very close to the stage for all the young fans that were arriving early for The Killers. The Furs, who are currently touring North America with James, put on a good enough show, playing all their 80s hits and any other songs I would’ve wanted to hear. My wife didn’t think too much of them, though, and didn’t remember any of their stuff.

Afterwards, we navigated through the amassing crowds for a spot to watch the main stage headliners and Victoria wondered when The Killers got so big. We had seen them almost fifteen years before at a tiny club in Ottawa, just before they struck it big and while reminiscing about that, we realized that neither of us were tied to seeing them again. So we extricated ourselves from the masses and headed for the Bluesville stage to catch the side stage headline set by Ashley MacIsaac (yes, that Ashley MacIsaac). We found a seat on the bleachers and enjoyed some crazy celtic folk fusion by the award-winning Cape Breton born fiddler and percussionist Jay Andrews. It was quite the civilized way to end the evening.

Andy Diagram of James
Adrian Oxaal of James
David Baynton-Power of James
Mark Hunter of James
Saul Davies of James
Tim Booth in the crowd
Tim Butler and Amanda Kramer of The Psychedelic Furs
Rich Good and Mars Williams of The Psychedelic Furs
Richard Butler and Paul Gariston of The Psychedelic Furs
Ashley MacIsaac and Jay Andrews
Jay Andrews
Ashley MacIsaac

100 best covers: #81 The Pogues “Dirty old town”

<< #82    |    #80 >>

Ok. So it’s been quite a while since I’ve posted one for this series, well over three months for sure. And this is another that I didn’t know was a cover for the longest time. The Pogues recorded “Dirty old town” for their second album, 1985’s “Rum, sodomy, and the lash”, and it’s here that I’ve heard and sung along to these words countless times.

It was originally written in 1949 by actor, poet, playwright and songwriter, Ewan MacColl, who is, incidentally, the father of Kirsty MacColl. (I’m sure you all see the connection.) He wrote it for one his plays, “Landscape with chimneys”, as an ode of sorts to Salford, the town of his birth. He later recorded it in 1952 and it has become a folk classic, apparently covered dozens and dozens of times. Perhaps it was most famously done by The Dubliners in 1976, whose version (check it here) was upbeat and raucous, with banjos, fiddles, and shout along vocals, and likely influenced that of The Pogues.

MacColl’s original, at least the recording in the video below, is by contrast scratchy and hissing and full of cobwebs, sounding forgotten in the darkest corner of your grandparents’ attic. It is a soft strum on the guitars, almost an afterthought to the sorrowful vocals, MacColl warbling all over the place. It is only 2 minutes 45 but feels a whole lot longer.

The Pogues’ cover is also sad but decidedly more upbeat. It is not hoarse and roaring like The Dubliners do it, nor as punk-influenced as other tunes in The Pogues back catalogue. It is a song to sway to with a frothy pint in hand, the band off in the pub’s corner, a harmonica crying sadly, the mandolin waffling and sniffling, the fiddles creaking like a squeaky old door, and Pogues’ vocalist Shane MacGowan slurring roughly, as he is wont to do. All in all, there’s plenty of memories and regret in each note and tap on the drums.

So in sum, I think all three of the versions here are great but the one by The Pogues is my preference. Thoughts?

The cover:

The original:

For the rest of the 100 best covers list, click here.