Posted: Mon Jan 15, 2007 3:53 amI just ordered mine from Amazon (just $25.40), but it'll take a month or two to get here (so they say).
Sounds like a ripper.
Sounds like a ripper.
Page 21 of 24
Posted: Mon Jan 15, 2007 3:53 amPosted: Tue Jan 16, 2007 8:01 pmgot my copy for christmas, so far its a good read
Posted: Tue Jan 16, 2007 8:10 pmJohn Powers wrote:
Ofcourse, being a greedy fan, there were millions of things that I would have liked to know more about. For example, why Spider sang some of the songs (Jesse James f.ex.) or why were these songs in particular chosen for him? Then there were those things that I would have wanted to know more but the band clearly did not want to come public with them, which is fair enough (What happened with Cait in the 2004 tour? Did she want take the bass and ditch Darryl? f.ex.). But I suppose, having just had this huge information package, it is not fair nor realistic to be asking for more since there were quite a bit of really personal stuff which the people involved could just as well left out but chose to give for us.
Plus, why did they borrow a bull dog for the cover of the "A pair of brown eyes" - single ?
Posted: Wed Jan 17, 2007 1:48 pmThe Duke of Ingmar wrote:John Powers wrote:
Ofcourse, being a greedy fan, there were millions of things that I would have liked to know more about. For example, why Spider sang some of the songs (Jesse James f.ex.) or why were these songs in particular chosen for him? Then there were those things that I would have wanted to know more but the band clearly did not want to come public with them, which is fair enough (What happened with Cait in the 2004 tour? Did she want take the bass and ditch Darryl? f.ex.). But I suppose, having just had this huge information package, it is not fair nor realistic to be asking for more since there were quite a bit of really personal stuff which the people involved could just as well left out but chose to give for us.
Plus, why did they borrow a bull dog for the cover of the "A pair of brown eyes" - single ?
Because we didn't own one ourselves?
Posted: Wed Jan 17, 2007 1:57 pmWouldn't it have been great to have a puppy on the road? It would have distracted people during tours, diffused the situation, shited into drums, chewed accordeon...
Posted: Wed Jan 17, 2007 2:44 pmphilipchevron wrote:The Duke of Ingmar wrote:
Plus, why did they borrow a bull dog for the cover of the "A pair of brown eyes" - single ?
Because we didn't own one ourselves?
Okay, sounds logical.
Let me put it another way: In my opinion "A pair of brown eyes" is not a song that definitely requires a bull dog on the cover sleeve. What was the main idea behind that?
Posted: Wed Jan 17, 2007 2:45 pmMacRua wrote:Wouldn't it have been great to have a puppy on the road? It would have distracted people during tours, diffused the situation, shited into drums, chewed accordeon...
... plus do occasionally backing vocals. Just like the dog "Ashbrooke" on some songs by british fun-punk band "The Toy Dolls".
Posted: Wed Jan 17, 2007 2:50 pmWasn't there a dog in Pink Floyd?
Posted: Wed Jan 17, 2007 3:16 pmMacRua wrote:Wasn't there a dog in Pink Floyd?
Rover Waters?
Posted: Wed Jan 17, 2007 3:18 pmfirehazard wrote:MacRua wrote:Wasn't there a dog in Pink Floyd?
Rover Waters?
Could´ve been Syd Bassett, too.
Posted: Wed Jan 17, 2007 3:21 pmIt was slim, hairy and did vocals, who it could be?
Posted: Wed Jan 17, 2007 3:22 pmThe Duke of Ingmar wrote:Could´ve been Syd Bassett, too.
Actually, when it comes to dogs, I've long wanted to know if it's the same dog that's featured on the cover of the Poguevision video and in New Order's "Blue Monday" video (see below). I'm no expert on canine matters, but they certainly look as if they could be related.
http://www.youtube.com/watch?v=3wHdlnb8BLE
Posted: Wed Jan 17, 2007 5:22 pmJust finished the book, really enjoyed it 
Posted: Mon Jan 22, 2007 9:23 amFairytale of a lost talent . . .
THE STORY OF THE POGUES By Carol Clerk Omnibus Press, st£19.99
JOHN MEAGHER
Irish Independent
20 Jan 2007
Full URL<blockquote>
Sometimes it's possible to forget that the Pogues used to make really great music. They don't release noteworthy stuff anymore and now the only time we get to see Shane MacGowan 'performing' is around Christmas when he and his old muckers bulldoze their way through songs well over 20 years old.
It can be difficult to see beyond the caricature.
And that's the task that this former Melody Maker journalist and author of books on Ozzy Osbourne and Hawkwind has attempted to do. A semi-autobiographical tome (Clerk interviewed MacGowan and the rest of the band), it does a fine job of detailing MacGowan's formative years and the lure of Punk rock exploding in London in the mid-1970s.
There's plenty of information to keep the diehards content about the origins of many of the Pogues songs and it's heavy on anecdotes about the creation of the band's most seminal album, 1985's Rum, Sodomy and the Lash.
MacGowan's reminiscences come without rose-tinted glasses, as one would expect, although Clerk's obvious love of the band frequently comes with a large dollop of hyperbole. And one senses that she avoids outright criticism when needed as a result of her fondness for the personnel.
Those expecting scintillating prose should look elsewhere for Clerk tells the story in a workmanlike fashion. Her greatest success is painting a far more complex picture of MacGowan than any previous biographer - a man who had extraordinary talent and awareness, who created songs of transcendent brilliance, and who relied on his drinking to help the creative process.
Ultimately though, Clerk's description of MacGowan's seemingly irretrievable slide into alcohol-induced oblivion provides a chilling reminder of a unique talent squandered. </blockquote>
THE STORY OF THE POGUES By Carol Clerk Omnibus Press, st£19.99
JOHN MEAGHER
Irish Independent
20 Jan 2007
Full URL<blockquote>
Sometimes it's possible to forget that the Pogues used to make really great music. They don't release noteworthy stuff anymore and now the only time we get to see Shane MacGowan 'performing' is around Christmas when he and his old muckers bulldoze their way through songs well over 20 years old.
It can be difficult to see beyond the caricature.
And that's the task that this former Melody Maker journalist and author of books on Ozzy Osbourne and Hawkwind has attempted to do. A semi-autobiographical tome (Clerk interviewed MacGowan and the rest of the band), it does a fine job of detailing MacGowan's formative years and the lure of Punk rock exploding in London in the mid-1970s.
There's plenty of information to keep the diehards content about the origins of many of the Pogues songs and it's heavy on anecdotes about the creation of the band's most seminal album, 1985's Rum, Sodomy and the Lash.
MacGowan's reminiscences come without rose-tinted glasses, as one would expect, although Clerk's obvious love of the band frequently comes with a large dollop of hyperbole. And one senses that she avoids outright criticism when needed as a result of her fondness for the personnel.
Those expecting scintillating prose should look elsewhere for Clerk tells the story in a workmanlike fashion. Her greatest success is painting a far more complex picture of MacGowan than any previous biographer - a man who had extraordinary talent and awareness, who created songs of transcendent brilliance, and who relied on his drinking to help the creative process.
Ultimately though, Clerk's description of MacGowan's seemingly irretrievable slide into alcohol-induced oblivion provides a chilling reminder of a unique talent squandered. </blockquote>
Posted: Wed Jan 24, 2007 5:00 pmLongtime viewer, first time posting! Anyway, I just got through the book and thought it was great. In the chapter on the first NYC trip, there is mention of the band going to Hoboken NJ. Just wondering if anyone knows if they played at the legendary club Maxwells in Hoboken? Great small club that's been around forever.