paddywhacker wrote:Mr. C, first, I know it's been said countless times, but I wanted to thank you for simply spending time on this board. I dont post often but I check the board every day, and I think the fact that an actual member of the band is willing to come here and interact with fans is simply an amazing thing.
My question: Are you or have you been writing much lately, or in the past few years? I know you wrote some material for the Radiators record, but aside from that?
Also, since this is the Pogues forum, do you write or try to write music or songs in the "tradition" so to speak, along the lines of Thousands are Sailing?
I have a book called "The Irish in America"..kind of a "coffee table book" (never expected to end up on anyones coffe table, huh?)..... and in the section covering the Irish-U.S. immigration during the famine years, they have the lyrics to "Thousands" on one of the pages. I just thought that was the greatest thing, to have such a brilliant lyric mentioned in that book. That is possibly, the one single song that sums up the struggle, pain, heartache, hopes and dreams of a people in an eloquent way.
Again, thanks for your time. All the best.
Thanks for your kind words PW.
Not only has "1000s" ended up on people's coffee tables, but it is in several educational text books as well. I'm not sure how I feel about that except better it's me than Frank McCourt. I never went to college. Now that Martin Sheen is at Trinity, perhaps I'll join him. "1000s" was written very much in the form of an Irish-American vaudeville song of around 1903-1919 (George M Cohan, Nora Bayes, Billy Murray, Maggie Cline, Blanche Ring, Marguerite O'Farrell etc) and earlier (Harrigan & Hart) because I wanted the content to be echoed (partly) in the form, so there was an actual reason there for consciously writing "in the tradition".
By comparison, "Manhattan Moon" from my musical
Jack Rooney: In Person (Kirsty MacColl's recording of the song is on her
From Croydon To Cuba box set) deals with immigration themes from a more upbeat point of view and the music, in consequence, travels from East European kletzmer folk song to ragtime to jazz in quick succession, telling the story from a different angle I suppose. I have been writing the musical since 1996 but put it aside in 2001 (by which time I had written about 3/4 of it) to allow it to grow some more content. I'll probably return to it next year sometime.
I am always writing, it's in my bones. What I am NOT always doing is FINISHING. That's the bit where you have to impose order on your ideas and share them with the world. Much of the finishing of my 7 songs on the new Radiators album took place in the final week of recording/mixing, as though 28 years were not a sufficient deadline.