The Pogues typically seemed that they in some way managed to tug collectively a profession out of chaos and dysfunction. Because it transpires, Pete “Spider” Stacy thinks the band had been extra considerate of their strategy than it could have in any other case appeared. “Each step we took gave the impression to be a logical continuation of the journey,” he says, as he seems again on the band’s discography.
Initially the band’s tin-whistle participant, Stacy co-founded the Pogues with Shane MacGowan, Jem Finer and James Fearnley in North London in 1982, happening to change into their reluctant frontman after MacGowan left in 1991. By then, The Pogues had recorded 5 studio albums and one excellent EP. Two extra albums adopted earlier than they broke up in 1996.
After reforming with MacGowan in 2001, the band centered on stay performances till MacGowan’s dying in 2023. However The Pogues stay on. In Could 2024, Stacy, Finer and Fearnley carried out beneath their previous identify at Hackney Empire, to mark the fortieth anniversary of their debut album, Pink Roses For Me, the place they had been joined by a slew of company who included members of youthful bands impressed and liberated by The Pogues’ strategy to conventional music.
Earlier this UK, they toured in celebration of one other landmark anniversary – this time for Rum, Sodomy & The Lash. “I wrestle to name us ‘The Pogues’,” admits Finer. “It doesn’t really feel proper with out Shane. The posters for the following tour are worded as ‘a celebration of The Pogues’ however the phrases ‘The Pogues’ are in somewhat giant letters. However we aren’t a tribute band. Spider, James and I are very explicit that we wish to broaden on the sound and add devices, so it has the unique energy and really feel however with a ceilidh sound.”
RED ROSES FOR ME
STIFF, 1984
World-building mixture of conventional songs and originals that doesn’t fairly seize their stay energy
JAMES FEARNLEY, ACCORDION: We practised actually arduous. Jem was herding everyone in a room and making us go over the songs. Then we went to the studio in Wapping to make them actual. Our producer Stan Brennan tried to discourage us from attending the mixes, however I’m a busybody and felt one in every of us needed to present up. He put reverse echo on our very first tune, in order that’s the very first thing you hear of The Pogues – Shane’s voice saying the primary syllable of the primary line in reverse. It’s a little bit of an anticlimax however additionally it is fairly charming.
JEM FINER, BANJO: It was a studying expertise, and I usually like studying. Listening to the document, I believed we had superb songs and a really distinctive sensibility – we had been so idiosyncratic – however I used to be by no means proud of the way it sounded. Shane was very a lot the chief. He picked the normal materials and was writing authentic songs, drawing on his love of that music. Nothing would have occurred with out him.
SPIDER STACY, TIN WHISTLE: Essentially the most thrilling factor was getting a completed copy and taking it to a good friend to see what he thought. I used to be shocked to the extent of their enthusiasm as a result of up till then we’d solely actually performed to our personal crowd. I used to be in two minds: on the one hand, I believed no person would love it, however on the opposite, I puzzled why no person had accomplished this earlier than, as a result of it sounded sensible. We had this sense we had been onto one thing.
RUM SODOMY & THE LASH
STIFF, 1985
Superb second album recorded with Elvis Costello
FINER: Elvis got here to see us play. I requested our supervisor to see if he was all for recording with us. It was the identical studio however a special ball recreation. We by no means meant to be constricted to the world of that first album, we had an openness to the music we heard round us and that step by step emerged. This was a tangible development. Shane’s writing was getting stronger and it had a greater sound and richer preparations.
FEARNLEY: I keep in mind Elvis being on the studio along with his pork pie hat and glasses, peeling a pomelo. He and Cait [O’Riordan] had been an merchandise, dwelling in Holland Park. They clearly went to a fancy grocer to get
a pomelo, so he had a chunk of fruit that rhymed along with his identify. I used to be a bit jittery as I liked Costello’s work. He did an awesome job of capturing Shane’s voice over and above all the pieces else. It’s nice to listen to it so effectively recorded.
STACY: Elvis was extra concerned than Stan had been. He had way more expertise and a greater understanding of the chances. Writing different from tune to tune. Generally Shane introduced us one thing totally shaped however as time went on, songs needed to be coaxed out by Jem and James. Within the earlier days he was on hearth and the songs had been tumbling out of him. Initially, all the normal songs got here from Shane. However over time all of us started to introduce concepts.
“POGUETRY IN MOTION” EP
STIFF, 1986
Elvis returns for this traditional EP which incorporates “A Wet Night time In Soho”
STACY: I don’t keep in mind why the EP occurred however “Wet Night time In Soho” is a powerful tune and “The Physique Of An American” is sensible. “London Woman” might need been a really late Nips [MacGowan’s first band] tune that Shane determined to revive. It’s a really pleasing artefact. We additionally demoed “Fairytale Of New York”.
FINER: It’s an odd factor; I can’t keep in mind why we made it. It might need been the start of an album, it might need been a Christmas document. “Wet Night time…” was mindblowing, it didn’t really feel like something we had accomplished earlier than. Shane didn’t make demos, so usually he would come to a session with an thought. As we started to jot down collectively, I’d provide you with songs for him to jot down lyrics to. We might sit down and share concepts then go away and see how they developed.
FEARNLEY: Our supervisor wished a calling card of some form for the USA, however I don’t know why an EP was extra palatable. It’s gorgeous how good that document is. “Physique Of An American” is an unbelievable story, then you’ve got “Wet Night time…”, Jesus Christ, and “London Woman”, which is sensible. It’s a phenomenal set of songs. We even did a model of “Fairytale…” with Elvis on piano and really completely different lyrics. I can’t wait to play “Planxty Noel Hill” as a result of it has a false ending – I don’t keep in mind ever taking part in that stay earlier than.
IF I SHOULD FALL FROM GRACE WITH GOD
WARNER, 1988
New members, a special label and Steve Lillywhite conspire to hit new artistic heights
STEVE LILLYWHITE, PRODUCER: Jem was the one member of the Pogues that Shane would take heed to, primarily as a result of he was the one one who didn’t do any medicine. I used to be king of the pile after we went in collectively and fairly empathic to their music. The factor I used to be most anxious about was the actual fact there have been so many within the band, I wouldn’t keep in mind their names. The opposite downside was that I’d by no means recorded a whistle earlier than. I started mixing and all I might hear was Spider’s whistle, so I saved turning it down. I referred to as the band again from the pub and performed them the combination. They mentioned it was actually good, however the place was Spider’s whistle? I really like that document, it’s very different.
FINER: This was a very good steadiness between what we had been identified for and extra uncommon influences. It was the proper second with all the pieces in the suitable place. Steve was a traditional studio engineer and we had been in a phenomenal studio in RAK. We knew “Fairytale…” was good however the world is stuffed with sensible songs that folks haven’t heard and garbage songs that everyone is aware of, particularly Christmas ones. But it surely doesn’t shock me that plenty of Pogues music is so common, as a result of it was at all times primarily based on one thing timeless and we made information that had the pure sound of the instrument unadorned by results.
STACY: I fluctuate between the primary three albums as to which is my favorite, however my favorite tune is actually on Fall From Grace – “The Broad Majestic Shannon”. It captures a way of craving for a house you’ll by no means see once more. It’s a phenomenal tune about reminiscence and love. At Shane’s funeral, once I noticed Shane’s sister, it made me realise that it is likely to be about her, which is de facto lovely.
FEARNLEY: We would have liked Steve to inform us the best way to put “Fairytale…” collectively. He by no means noticed an issue he couldn’t clear up – the bread at all times lands butter aspect up for him. It’s an awesome set of songs, brilliantly sequenced. I have a look at the completely different songs and tales now and at all times discover new issues that curiosity me. For “Fairytale…”, I did my utmost to be in sync with Shane and recording that tune was one of many highlights of my life.
PEACE AND LOVE
WARNER, 1989
The band’s first setback, as MacGowan’s focus slips and Lillywhite struggles to carry issues collectively
FINER: It was problematic. There was plenty of over-indulgence, so objectivity went out the window and plenty of time was spent on too many guitar overdubs. Shane was in a very dangerous state. I had been writing songs and I gave them to Shane for the lyrics, however he now got here to a degree the place he’d stick to my lyrics. I used to be proud of “Misty Morning, Albert Bridge” however among the songs would have been higher if he’d been extra inclined to contribute. As Shane wasn’t there, we’d experiment with completely different concepts and devices. If one thing didn’t fairly work we’d throw extra issues at it. It was a traditional instance of a band getting too happy with itself.
STACY: I can’t level too many fingers as a result of I used to be on a troublesome path myself, however Shane was shedding curiosity. A tune like “London You’re A Girl” is an effective instance – probably an awesome tune but it surely’s like a draft. We had killed ourselves touring, 250 reveals in a calendar 12 months, by no means residence. It pulls you aside and no person had a notion of wellness, you simply drove your self into the bottom.
FEARNLEY: Issues had been getting troublesome for Shane and I used to be into self-protection because the dynamics of the group modified. I performed my half and saved out of the way in which. On Peace And Love, everyone was bringing in songs, so we had numerous completely different influences. “London You’re A Girl” was typical – it sounded superb however the lyrics didn’t minimize it – it might have been towering, however we missed the mark.
HELL’S DITCH
WARNER, 1990
A return to type as Joe Strummer is available in as producer and takes the band to Rockfield
FINER: Joe was good friend of the band and had a special strategy. It was a significantly better expertise. I ended giving Shane full songs so he needed to write his personal lyrics. One instance is “Sunny Aspect Of The Avenue”, the place I had the music and one line and left him to jot down a tune I’d by no means have been capable of write. We had been in higher form and all of us acquired on with Joe.
FEARNLEY: Shane confirmed as much as do his singing, however plenty of the session was the remainder of us having a good time hanging out within the Welsh countryside watching the World Cup from Italy. I keep in mind dragging a Hammond B3 by the farmyard and coming throughout Jem, who was wandering round recording himself hitting completely different bits of steel. Joe was affected person and mate and labored arduous to make sure we acquired issues on tape as Shane’s diction had gone to shit. Joe liked Shane.
STACY: I feel we opened Joe’s eye to a slew of prospects that he by no means acquired to correctly discover himself. Shane had a second wind and we had some excellent songs. The title monitor is sensible. On the day of Shane’s funeral we had been in Nenagh and the city was doing Shane proud, it was like a state funeral. I keep in mind strolling down the road and this ironmongery shop had mounted a speaker on a telegraph pole and was blasting out “Hell’s Ditch” because the city laid its favorite son to relaxation.
WAITING FOR HERB
WARNER, 1993
With out Shane MacGowan, Spider takes over lead vocals whereas the stress mounts on Jem for songwriting
STACY: Issues had reached a head. It was obvious Shane wasn’t any extra, so we put that to him and his response was mainly: “What took you so lengthy?” However I feel we made the improper choice. We must always have taken time without work, however that wasn’t how issues had been accomplished then. All of us suffered because of this. For some time we had Joe as lead singer and that gave us the impetus to maintain going. I’d been Shane’s stand-in on a number of events, so I acquired the job.
FINER: We needed to preserve going in any other case we might have been in a really dangerous monetary state of affairs. We regarded for a producer and thought of John Leckie. I wished to work with Brian Eno, however he declined. I wrote him a letter saying we weren’t a bunch of diddly-eyed Irishmen, and he wrote a really good one again to clarify his pondering. There have been some good songs on the document. With out Shane it might have been pointless to do what we normally did, so it was the Pogues with a special angle, however we had been on a hiding to nothing although “Tuesday Morning” was a minor hit.
FEARNLEY: It was scary with out Shane. I wrote one tune, “The Drunken Boat”, which was such a thrill. It was a few poisonous tanker that was going around the ocean and no person would let it dock. I used this as a metaphor for all the pieces I had been by with The Pogues.
POGUE MAHONE
WARNER, 1996
Fearnley quits earlier than the ultimate studio album, The Pogues having lastly run out of steam
FINER: We tried to return to one thing we felt was a pure musical development from Ready For Herb, however I started to really feel it was pointless. There was at all times a way it wasn’t actually the Pogues with out Shane. It could have accomplished higher if we had Shane, simply as Shane would have been higher if the Popes had been the Pogues.
STACY: We’d run out of steam. I really feel we had misplaced our identification. We had strayed so distant from what we had been doing. But it surely wasn’t too lengthy earlier than we reformed. I used to be sitting at residence, I’d stopped consuming and are available to phrases with the actual fact the Pogues was over. However then Jem rang saying we’d been supplied a Pogues tour and it began up once more. We then carried on for a very long time.
FEARNLEY: The unique reunion reveals with Shane had been implausible however Shane had modified loads, it was fairly alarming. I cried my eyes out as I used to be so upset to see him like that. However the reveals had been implausible.
THE POGUES IN PARIS: 30TH ANNIVERSARY CONCERT AT THE OLYMPIA
UNIVERSAL, 2012
With “Fairytale Of New York” now a seasonal normal, The Pogues stay present is captured on this anniversary launch
FINER: After we break up up, it felt like a very long time to be in a single band, however I appear to nonetheless be in it – it’s been 40 years now. We acquired again in 2001 then toured till 2014, however we didn’t write any new materials. We tried however nothing emerged. In the long run it was simpler taking part in our previous music.
STACY: We launched Dwell In Paris in 2012 and as with plenty of the reunion reveals, Shane was not at all times compos mentis, though his voice was nonetheless very highly effective. The reunions reveals had been nice, they’d a sure chaotic high quality and it’s good to have this documentation of that interval. Our reveals for the anniversary of Pink Roses had been implausible. It started as a night on the Moth Membership and changed into reveals at Hackney Empire and in Dublin with individuals from the Unhealthy Seeds, from Lankum, Fontaines DC and Nadine Shah. These younger Irish bands would have occurred with out The Pogues, however I wish to suppose we have now had some affect. It’s a pool of luminous expertise that we have now been capable of recruit from. We’ll take an identical strategy for the Rum Sodomy & The Lash reveals this 12 months.
FEARNLEY: The reveals in Hackney and Dublin made me really feel that all the pieces I had gone by and achieved with The Pogues was price it. It’s just like the sweets contained in the Easter egg, seeing all these different musicians we have now influenced, as if MacGowan has spilled out into all these different expressions of himself with all these generations of musicians who suppose The Pogues had been fucking nice.
Initially printed in Uncut Take 338 (Could 2025 concern)
