Pogue Mahone Kiss My Ass (Hardcover)
Book Review
Wed Oct 04, 2006 11:23 am
…. Long overdue, a review/preview of KISS MY ARSE!
This book is HUGE. Carol Clerk has laid before us a feast, a banquet, a smorgasbord that makes stop-gap Pogues bio The Lost Decade feel like a half-empty packet of peanuts. And from this (forgive the dodgy metaphors) giant table of pogue-flavoured tapas I've pick out some morcels, to whet appetites before publication.
This book is The Pogues in their own words, compiled almost entirely from new interviews and after setting it down I felt as if I’d just stepped off the tourbus with Shane, Spider & Co, exhausted, jet-lagged and carrying a gale-force hangover. The pre-publication blurb promised the, ‘arguments and drunken spats, their love affairs, the marriage of Cait and Elvis Costello, the death of Kirsty MacColl, the illnesses, the drugs, the sackings, the legal actions.’ And I can confirm it’s all in. This is no airbrushed glossy band history.
In fact, if I can complain about one thing, it’s that Carol Clerk has done her job too thoroughly. I know too much and since reading it some weeks ago I’ve been trying to forget great chunks. The music, I think, is enough for me. To pick a random example, the next time I set eyes on Mr Andrew Ranken, my first thought is no longer likely to be mundane, eg, ‘hey, the drummer from The Pogues…’ but now, ‘I hope that man hasn’t got a cluster headache.’ (What’s a cluster headache? Patience, soon you’ll all know …)
It was apparent from the intro that Shane played little part in the book whereas the others contributed heavily, which opened the possibility of a one-sided (even anti-MacGowan) account (especially in the wake of Shane’s pre-reunion book which savaged members of the band, management and crew) but it isn’t and I’m glad to say Shane comes comes shining through on every page.
Finally, as I said above, the one overriding feeling the book left me is that this is a band that richly deserves it’s reunion … and when you’ve read it you’ll know why.
So with the manuscript on one knee, laptop on the other here are some quotes and comments drawn more or less at random; a totally unscientific and non-representative sample (reviewers may quote short passages). And if you’re worried these are spoilers, know this. The surface hasn't even been scratched - there’s 450 densely packed pages of this.
To get it all, find a good bookshop on Monday!
CONTENTS
Foreword
Chapter 1 – The Importance of Being Irish
Chapter 2 - Going For A Burton
Chapter 3 – Nips And Rucks
Chapter 4 – The Rebel Yell
Chapter 5 – Pogue Mahone: Birth Pains And Beer Trays
Chapter 6 – The Advance Of The Young Old Men
Chapter 7 – Streets Of London
Chapter 8 – Stiff Records And Stiff Elvis
Chapter 9 – A Drunken Odyssey
Chapter 10 – Murray’s Law
Chapter 11 – Rum, Sodomy & The Clashes
Chapter 12 – ‘That’s Poguetry For You’
Chapter 13 - The Raft Of The Medusa: Off With Their Heads!
Chapter 14 – Loose Porter In London
Chapter 15 – The One-Handed Drummer
Chapter 16 - You Promised Me Broadway Was Waiting For Me
Chapter 17 – Rain Dogs With Everything
Chapter 18 – Spain Killers
Chapter 19 – The Irish Rovers
Chapter 20 – The Terry Woods Solo Album
Chapter 21 – Falling From Grace
Chapter 22 – Summer In The City
Chapter 23 – St John Of God’s
Chapter 24 – Peace And Love: The Irony
Chapter 25 – The Bob Dylan Disaster
Chapter 26 – Gudbuy T’Shane
Chapter 27 – ‘I Am Going, I Am Going…’
Chapter 28 – In The Death Of Afternoon
Epilogue
Jem on seeing Shane for the first time on the front steps of No. 32 Burton Street. ‘That’s a very odd-looking character, an intriguing-looking young gentleman.’” (The Pogues when John met Paul moment!)
James Fearnley on the Nips. ‘Shane’s stagemanship … was fantastic. I remember doing a gig … where the audience hung around the walls of the club leaving the floor space entirely empty. Shane was wearing a quilted smoking jacket and he jumped out into the middle of the dancefloor and just rolled around on it. It was jaw-dropping… Shane talked at great length about his ambitions for another group. “He was reading books about the Roman Empire. The idea was he was going to dress up in togas and I should be a gladiator,” says James. “He was really, really keen on this. It was a nod in the direction of the new romantics, who were cutting a dash in London at the time. His big thing was Cretan music. I don’t think he had a name, and I’ve no idea who else was going to be in the band, but he had all the music sorted out in his head.”
Jem Finer on Pogue Mahone’s first gig, “We’d developed a whole aesthetic, wearing second-hand suits … Spider turned up with … red dyed streak in his hair and a leather jacket. He looked like someone from another band entirely, and spent the whole gig just screaming at inappropriate moments. Second gig Cait played her inaugural gig with Pogue Mahone at the Clapham 101 Club on October 23. They were supporting King Kurt … Says Jem Finer: “… playing with them at the 101 Club was a bit messy because they made us go on second and the stage was just covered in goo and gunk. They’d throw around lots of flour and water and dead rabbits and offal. You’d keep treading on squidgy things and look down and find a bit of rabbit’s liver.”
Talking about his friendship with MacGowan, Stacy says: “If you hit it off with someone, the relationship develops as you spend time together. If you’ve got things in common where you think the same way, you can spark off each other and you do get that very quickfire banter. It’s just a product of the chemistry you get with people sometimes. I think the other members of the band had a different type of chemistry with Shane. Jem’s … has a very real chemistry with Shane, and it’s something I’ve observed at close quarters over the years. My friendship with Shane, obviously, is very tied up with the band but at the same time, it’s apart from the band. Its nature has had a different effect. The crucial relationship in The Pogues has been that between Shane and Jem.”
On being an "Irish" band. Philip Chevron was shocked to discover that the six members of Pogue Mahone were not, in fact, Irish. He wasn’t the only one. So persuasive and alive were their cover songs, so convincing their original compositions, that most people coming to the band for the first time were taken aback by James Fearnley’s uncompromisingly northern speaking voice, for instance, or by the Cockney bias of MacGowan’s original Tipperary accent. None of Pogue Mahone had been born in Ireland, and only Shane had lived there.
Accordingly, they were none too happy to be parcelled up as an “Irish band”
Jem Finer makes the point: “It’s a London band whose influences are from living in London but who have got this element of an Irish experience, although not exclusively so. Shane’s songs are the songs of a displaced person, not the songs of a native of a place. Shane, you could say, had the experience of feeling marginalised. To be Irish in those days was quite difficult in London, probably a bit like being a young Muslim now. A lot of people in the band had their own very separate experiences of being outside or marginalised slightly. That’s probably quite an important component in the chemistry and energy in the group. We all empathised with the sentiment of the songs, the much more universal element, rather than just the fact that many of them were Irish.
Phil Gaston on Darryl Hunt ‘We formed a band called Pearl And Dean and … made a tape called ‘The Ballad Of Pogue Mahone’. It was to the tune of ‘Old Orange Flute’. We went through every member of the band, how bad they were and how they couldn’t play their instruments.”
A Pair Of Brown Eyes is regarded by some as MacGowan’s finest composition – began life even earlier. Finer says: “It’s a brilliant song. I think it’s one of Shane’s real classics. It had another name originally. He wrote it about the time of the Falklands War [1982], and it was called ‘Me And Hanley’ or something like that. It had totally different lyrics. … Then he rewrote it. I found it a very exciting song, both lyrically and musically.”
Phil Gaston on the band’s legacy. “People still haven’t assimilated what The Pogues did. There’s no equivalent. The Saw Doctors, Black 47 – they all think all they have to do is play it really fast, really loud and put electric instruments in it. There’s an artistry that Shane had. You can’t just do it by formula. The Pogues are still unique.”
Terry Woods entry to the band. The Pogues were rehearsing in a room at the Boston Arms, a music pub in Tufnell Park, north London, when Terry Woods walked in with Murray. “I thought, ‘Fucking hell, this is really annoying,’ says Jem. “I didn’t like his manner. He seemed very uptight. He didn’t seem to acknowledge anyone. He said, ‘What’s the loose porter like in here, Frenchie?’”
Roughly translated, that means, “How’s the Guinness here, Frank?”
“So Frank and him started drinking a couple of pints of Guinness,” continues Finer. “We all met up and I thought, ‘Well, maybe he’s shy and it's all a bit weird for him too. It must be intimidating coming over here, and the poor guy doesn’t know what he’s letting himself in for.’”
James Fearnley – The Maestro – took on the responsibility for musical liaison. He remembers: “I sort of assumed rather arrogantly it would befall me to be the one to tell Terry how everything went. So I did. I think it went fairly well.”
…. “The first gig I did was in the Barrowlands in Glasgow,” says Woods. “It was a bit of a nightmare, it was nerve-wracking, but it was very enjoyable at the same time and I learnt a lot from it. There was a great atmosphere around the band at that time. It was a roll, electric. When you’re in a band, you know when something is beginning to happen. You can feel it. Nobody can put their finger on one specific thing that’s making it all go, ‘Boomph!’ It’s an electrical charge or something. When things are happening outside of one’s control and they appear to be good things and this charge is going on, you think, ‘This feels wonderful,’ and The Pogues was a bit like that. The reactions we were getting at gigs was astounding. The build was beginning.”
Terry on Live Aid. Woods is inherently suspicious of the glittering, fund-raising tradition inaugurated by Live Aid in 1985 and most recently continued with Live 8. He says: “The people on these stages are incredibly wealthy pop stars and they’re playing to this audience who have already paid their income tax. But most of these pop stars, the wealthy ones, they’ve all got tax dodges, like most corporations. These people are up onstage saying to the G8 people, ‘You’ve got to do this and you’ve got to do that.’ U2 had just played in Dublin three times in a week, and they earned something like eight grand for every two minutes they were onstage. You’ve got the likes of Madonna, Coldplay... and I don’t know where the ego ends and the altruism begins. There’s something that seems rather strange in all of this.
“The populus go along with it because they’re now fed this culture of bullshit from the media in terms of celebrity and stardom, which is very little to do with music or anything else. They all buy into it. I don’t understand how the world is becoming dumbed down to such an extent. It’s all instant. Sometimes I think, ‘Hold on, it’s your age.’ But for me, music is ruined. Whatever feeling was there, it’s just ruined. I wouldn’t even know how to begin to repair it now. Everything is a sell.”
On drug-users fronting an anti-drugs campaign. During this particular visit to Dublin, The Pogues were persuaded to film a “Just Say No” anti-drugs message for television. “We couldn’t really say no without appearing really churlish or like drug addicts,” laughs Spider. “We had our fingers crossed behind our backs.”
Andrew: “I think Frank Murray agreed to it – ‘It’ll get you seen on television, lads.’ I don’t think anyone took it seriously for a minute. We all just stood in a line and looked stupid, not very convincing.”
Chevron on Hunt joining the band “What Darryl did was he galvanised both me and Andrew into thinking and playing like a rhythm section. We began to find the foundation. We became the engine room, holding the thing together, and in turn that liberated everybody else in the band, the soloists and the lead-line players, to do what they do best. It gave them a solid bedrock. Whatever flights of fancy they went on, it was never going to get lost. To me, that was the defining point: when it became The Pogues was when Darryl did that. It turned the band into a different league as a musical entity. He was the final element that made the whole thing just fly.
Chevron on touring. “You have the syndrome that after three-and-a-half weeks on the road, you’re partly insane. Tour madness takes over after two weeks. The normal day-to-day courtesies of life don’t actually exist on the road. You come back and you’ve got tour madness and you’ve had a few drinks on the plane and you’re like a monster, a roaring fucking beast coming through the door. There’s this sort of debriefing period. Even at this late stage in the game, Bono’s honest enough to say Ali [his wife] won’t have him home for a week after a tour. He has to go and stay in a hotel. Ronnie Drew does it as well. You’re a different animal from the one that left and, as the gaps grow shorter, increasingly you’re just an animal all the time and it’s something it’s unfair to ask anybody to put up with.
The band’s highwater mark. The band ended 1988 with a round of German dates and a Christmas tour of Britain and Ireland, Kirsty MacColl turning out to thrill the already euphoric crowds with her inimitable recreation of MacGowan’s shrewish wife amid the snow showers of ‘Fairytale Of New York’. she remained onstage to join in the singing and general hilarity of the show. The tour came to an end at Dublin’s Point Depot on December 22.
In the space of three days, The Pogues had proved their continuing pulling power in London by headlining both Wembley Arena and Brixton Academy (December 17 and 19),
Shane’s increasingly erratic behaviour. MacGowan’s unpredictability, infuriating enough in his own circles, could become outrageous in his dealings with the outside world.
James Fearnley gives one example: “During the recording of Peace And Love, we were contacted by the family of a kid who’d been in a car crash and was lying in a coma in hospital somewhere. We were asked to record something for him – he was such a fan of The Pogues – that might assist in his recovery, something that might lift a corner of his injury and bring him back to daylight. So we put something on a cassette for the kid, you know, like, ‘This is The Pogues and we hope you get better.’ ‘This is Jem.’ ‘This is Philip.’ Shane wanted to contribute too, but his contribution, it was clear, was going to be a matter of shouting into the microphone, ‘WAKE UP! WAKE UP!’ We respectfully and painstakingly discouraged him from doing such a thing, pointing out that the tape would be as much for the ears of the kid’s parents as for the kid himself. It was a difficult hour or two.”
Steve Lillywhite on Peace & Love, “I think MacGowan’s voice had become weaker. I made a mistake with Peace And Love in mixing his voice quietly, which made a weak vocal worse. If I’d turned it up, I could’ve made a weak vocal better. I should apologise to him for that. I feel it could’ve been a much better album if the vocals, even if they were weak, had been louder in the mix. Quite often he would slur his voice a lot, so I would actually move the voice forwards in the track. Now you can do it really easily. In those days, it was quite a big job. I did that on a couple of tracks to try and get his voice more in the right place.” (I agree! The mix alienated a lot of people – it made you work hard to decipher the songs. P+L was the first Pogue’s record that ALL my mates didn’t buy. The day it came out we gathered around the speakers (after rushing back from Our Price) and on many songs the low vocals meant that whatever it was Shane was trying to communicate was lost. It sounded muddy. P+L just didn’t leap out of the speakers and grab you by the scruff of the neck like IISFFGWG. By about the third song, conversation had moved to something else …)
Drugs in the studio. Jem Finer is one of those who believes that cocaine was a hindrance rather than a help. He says: “I would say that too many people in the band were taking too much cocaine. It definitely had an effect on that record. I’ve always hated cocaine, and I think it’s responsible for a lot of rubbish that happened round the band. People often turn into complete arseholes – not always, but creative ideas fuelled by cocaine are often just shit. That probably is a problem. There was a lot of over-indulgence, musically. Things became over-complicated …. Everyone wanting their stuff to be heard. The collective ego of the band got fragmented into individual egos. I found it really, really tedious and frustrating and disheartening.
“‘USA’ is a case in point of sheer over-indulgence. I’ve got some tapes somewhere of mixes of that that are just incredible where it’s quite sparse. It had this amazing, brooding menace to it, and that sort of got lost. People kept overdubbing stuff more and more and it just lost a lot of its power.” (After complaining for 30 years about Phil Spector’s mix, the Beatles released Let It Be "Naked". Iggy put out a new mix of Raw Power. How about releasing a stripped down P+L with the vocals turned up?’)
Philip Chevron on Shane’s absence from Dylan gigs: “Shane’s always been a bit angsty, reserved or stand-offish, with people who would be his peers. There are very few people in his class who he actually knows, partly because he’s shy and partly because he hates the implied competition. Bob Dylan – if you want to get on an airplane, you can get on an airplane. Shane didn’t want to be judged alongside Bob Dylan. He loved Tom Waits but he had no interest in hanging out with Tom as the rest of the band did. What he has is so precious and personal to him that he hates to feel it’s under challenge or under question. Even if there’s a possibility of that, he backs off.”
The psychedelic experience. “When we went to Byron Bay,” relates James, “someone went off farming for mushrooms … and I had the most awful time with them. As soon as I took some of them, I wished I hadn’t. … So I went up to Charlie and I said, ‘You’ve got to get me out of here. I can’t handle it.’ He kept on slurring, ‘Wait a minute.’ The minute turned into 20, and then 40 minutes. We were at somebody’s pool at a house … Then Charlie said, ‘I’ve got to take Shane and Victoria back to the hotel, and I’ll take you as well.’
“In this car there was Shane and Victoria in the back and me and Charlie sitting in the front, and I was aware of the darkness out of the side of the car and the dashboard all lit up. Shane was Han Solo, Charlie was the Wookiee, I was Luke Skywalker and Victoria was Princess Leia. We zoomed along this mainly flat road with bumps in it every now and again. It was like going into warp speed with all the characters from Star Wars.”
Chevron on Strummer. “He was a very different frontman to Shane,” explains Philip. “That was appropriate to the way the band had developed. It was a very interesting time, but it was experimental. We wondered whether it might work in the long term. But the one person who kept appearing onstage was the ghost of Shane, and it was never going to stop getting in the way, however brilliant it was with Joe. It was like Banquo’s ghost, and that dispirited Joe and us, cos we realised we weren’t going to be able to move on with him, unfortunately.”
Fearnley on Spider. And then, says James, “We replaced one singer [MacGowan] with another one who couldn’t sing as well and didn’t write as many songs as the last one did and was as much of a fuck-up as the original one had become. It was out of the frying pan and into the blazing furnace...”
Fearnley’s last gig with The Pogues came at the end of a run of UK gigs at a familiar venue – the old Town & Country Club in Kentish Town, now known as The Forum – at Christmas 1993.
He remembers: “Shane and Joe [Strummer] were both at the gig and I think I’m right in saying they both performed. I don’t remember what Shane did, what he sang. At the end, in ‘Fiesta’, I remember sinking to the ground and they all sort of gathered round me in a huddle. I won’t forget that. (In fact, Shane didn’t join the band that night. How do I know? Because I was sat next to him in the audience!! I’d seen a Reserved For Shane MacGowan sign on a balcony seat and towards the end I went over and there he was, an empty seat beside him. I asked for an autograph and he wrote Freedom! in Irish on my travelcard. It occurs to me only now it might have been a sly reference to him being free of The Pogues merry-go-round.)
Chevron on homophobia. (Philip) had tried to buy a home in Dublin in 1990 and as a result of the red tape that he encountered, will never live in Ireland again. “I had come to the notion that, after 13 years in London and flushed with success, the time might be right to re-establish my Irish roots. In order to qualify for either the mortgage or the insurance on the mortgage, it was required that I take an HIV test, as an apparently high-risk category. It was not specified if this was because I was a Pogue or because I was openly gay and, rather than ask, I just got on with the damn thing. The test came back HIV negative, as I had supposed it would, but I was turned down for my mortgage anyway. When I asked why, I was given the Kafka-esque explanation that I was turned down because I had been required to do an HIV test! This news was transmitted to me by an office junior, by phone, to my hotel room in Tokyo.
“I understand the law about these things may since have changed in Ireland, but if so, it came too late for me. My battles against injustice and homophobia in Ireland had all been uphill. If the new, liberal, forward-thinking Celtic Tiger was still requiring me to fight on even the most mundane of levels at the age of 33, it would have to have its Brave New Ireland without me. There and then, in my Tokyo hotel room, I vowed I would never again be a permanent resident of Ireland. I have now lived in Britain for 29 years.”
Fearnley on Waiting For Herb “To my mind a pretty crap album all round … A lot of it seemed to be characterised, for me, by a sort of troglodytic husbandry in the bowels of some cave by underlings who are undertaking what they think might be the work expected of them by the departed Great One – a sort of hobbit thing without Gandalf, all very worthy but not quite there.” (Eh? Been at the mushrooms again!!)
Chevron on visiting his ex-bandmates, “I was painfully aware that they were on the slide. In Spinal Tap terms, they were going on before the puppet show. They were playing at smaller places.” Andrew agrees: “It was quite soul-destroying. I think we ended up in a position where we realised we could go on doing the same circuit forever with any old line-up as long as there was a few of the original members in. But it wasn’t a very exciting circuit, and the gigs were slowly shrinking. It just became like hack work.
James Fearnley on Shane (this is great!) Everything went quiet in 2003, apart from the release in June of the documentary, If I Should Fall From Grace: The Shane MacGowan Story… James Fearnley was invited to represent The Pogues at a Q&A session after the screening at the Egyptian Theatre in Hollywood.
He remembers: “A guy in there was so outraged by Shane. He might have been coming from a Californian point of view where people are looking after themselves with healthy diets and not smoking and taking lots of exercise and stuff. And honestly, he was so outraged that somebody like Shane should actually exist in this day and age, and that nobody had ever done an intervention or something.
“This guy threw me so much that I didn’t know what to say, because I’d been put on the spot. I kind of felt a little bit guilty that I was in part way responsible for Shane being like that. In some people’s view, I might have enabled him in ‘self-destruction’ or whatever. It was probably my upbringing that made me feel guilty.
“But on account of that guy, I’ve had a think about it and now I think I appreciate more what Shane’s up to than probably I ever did. In a completely happenstance way, Shane is having a look at the cosmos closer up than certainly I can. It’s really good for humanity to have somebody out there fucking it up. The absurdity of life is going to bring out somebody that just exists on the brink of something all the time. Shane couldn’t function if he weren’t on that brink. He could stop drinking and whatever else he medicates himself with, but he would still be on the brink. Seriously, I think there’s no way of avoiding that. He’s staring into the void, and I don’t want to do that.
“He’s embracing things that lots of us daren’t and he’s telling us what he can see in his songs. I think he’s donated himself to the vagaries of the cosmos and that’s what makes him what he is. We need people like Shane around, because they’ve got a point of view that’s pretty unique and valuable. He’s full blast on the prow of the ship and he’s taking everything. And it’s life. I don’t mean death or anything. He’s out there saying, ‘Bring it on.’”
Backstage at the Reunions. Chevron: ‘People tend to exchange news about how their daughters are doing in school or college, or how their parents’ health is, the things that middle-aged men actually talk about. Dressing-room conversations now revolve around prostate glands and the need for stronger spectacles. It’s a real loving relationship where everybody has been around each other long enough to talk about anything, and we do.”
Frank Murray on the reunion: “They’re making themselves a lot of money, and I’m glad they’re doing it, but there’s one thing I feel is missing. There’s no creative process going on with them as a band. They’re not striving to make a record …But as long as Shane stays fit and healthy, it should work out.”
Terry Woods: “The Pogues were too big a band to go out with a whimper. I was quite delighted about the reunion. It appeared if nothing else that we could put a proper full-stop after The Pogues.”
Carol Clerk’s Pogue Mahone Kiss My Arse is published on Oct 9th
This book is HUGE. Carol Clerk has laid before us a feast, a banquet, a smorgasbord that makes stop-gap Pogues bio The Lost Decade feel like a half-empty packet of peanuts. And from this (forgive the dodgy metaphors) giant table of pogue-flavoured tapas I've pick out some morcels, to whet appetites before publication.
This book is The Pogues in their own words, compiled almost entirely from new interviews and after setting it down I felt as if I’d just stepped off the tourbus with Shane, Spider & Co, exhausted, jet-lagged and carrying a gale-force hangover. The pre-publication blurb promised the, ‘arguments and drunken spats, their love affairs, the marriage of Cait and Elvis Costello, the death of Kirsty MacColl, the illnesses, the drugs, the sackings, the legal actions.’ And I can confirm it’s all in. This is no airbrushed glossy band history.
In fact, if I can complain about one thing, it’s that Carol Clerk has done her job too thoroughly. I know too much and since reading it some weeks ago I’ve been trying to forget great chunks. The music, I think, is enough for me. To pick a random example, the next time I set eyes on Mr Andrew Ranken, my first thought is no longer likely to be mundane, eg, ‘hey, the drummer from The Pogues…’ but now, ‘I hope that man hasn’t got a cluster headache.’ (What’s a cluster headache? Patience, soon you’ll all know …)
It was apparent from the intro that Shane played little part in the book whereas the others contributed heavily, which opened the possibility of a one-sided (even anti-MacGowan) account (especially in the wake of Shane’s pre-reunion book which savaged members of the band, management and crew) but it isn’t and I’m glad to say Shane comes comes shining through on every page.
Finally, as I said above, the one overriding feeling the book left me is that this is a band that richly deserves it’s reunion … and when you’ve read it you’ll know why.
So with the manuscript on one knee, laptop on the other here are some quotes and comments drawn more or less at random; a totally unscientific and non-representative sample (reviewers may quote short passages). And if you’re worried these are spoilers, know this. The surface hasn't even been scratched - there’s 450 densely packed pages of this.
To get it all, find a good bookshop on Monday!
CONTENTS
Foreword
Chapter 1 – The Importance of Being Irish
Chapter 2 - Going For A Burton
Chapter 3 – Nips And Rucks
Chapter 4 – The Rebel Yell
Chapter 5 – Pogue Mahone: Birth Pains And Beer Trays
Chapter 6 – The Advance Of The Young Old Men
Chapter 7 – Streets Of London
Chapter 8 – Stiff Records And Stiff Elvis
Chapter 9 – A Drunken Odyssey
Chapter 10 – Murray’s Law
Chapter 11 – Rum, Sodomy & The Clashes
Chapter 12 – ‘That’s Poguetry For You’
Chapter 13 - The Raft Of The Medusa: Off With Their Heads!
Chapter 14 – Loose Porter In London
Chapter 15 – The One-Handed Drummer
Chapter 16 - You Promised Me Broadway Was Waiting For Me
Chapter 17 – Rain Dogs With Everything
Chapter 18 – Spain Killers
Chapter 19 – The Irish Rovers
Chapter 20 – The Terry Woods Solo Album
Chapter 21 – Falling From Grace
Chapter 22 – Summer In The City
Chapter 23 – St John Of God’s
Chapter 24 – Peace And Love: The Irony
Chapter 25 – The Bob Dylan Disaster
Chapter 26 – Gudbuy T’Shane
Chapter 27 – ‘I Am Going, I Am Going…’
Chapter 28 – In The Death Of Afternoon
Epilogue
Jem on seeing Shane for the first time on the front steps of No. 32 Burton Street. ‘That’s a very odd-looking character, an intriguing-looking young gentleman.’” (The Pogues when John met Paul moment!)
James Fearnley on the Nips. ‘Shane’s stagemanship … was fantastic. I remember doing a gig … where the audience hung around the walls of the club leaving the floor space entirely empty. Shane was wearing a quilted smoking jacket and he jumped out into the middle of the dancefloor and just rolled around on it. It was jaw-dropping… Shane talked at great length about his ambitions for another group. “He was reading books about the Roman Empire. The idea was he was going to dress up in togas and I should be a gladiator,” says James. “He was really, really keen on this. It was a nod in the direction of the new romantics, who were cutting a dash in London at the time. His big thing was Cretan music. I don’t think he had a name, and I’ve no idea who else was going to be in the band, but he had all the music sorted out in his head.”
Jem Finer on Pogue Mahone’s first gig, “We’d developed a whole aesthetic, wearing second-hand suits … Spider turned up with … red dyed streak in his hair and a leather jacket. He looked like someone from another band entirely, and spent the whole gig just screaming at inappropriate moments. Second gig Cait played her inaugural gig with Pogue Mahone at the Clapham 101 Club on October 23. They were supporting King Kurt … Says Jem Finer: “… playing with them at the 101 Club was a bit messy because they made us go on second and the stage was just covered in goo and gunk. They’d throw around lots of flour and water and dead rabbits and offal. You’d keep treading on squidgy things and look down and find a bit of rabbit’s liver.”
Talking about his friendship with MacGowan, Stacy says: “If you hit it off with someone, the relationship develops as you spend time together. If you’ve got things in common where you think the same way, you can spark off each other and you do get that very quickfire banter. It’s just a product of the chemistry you get with people sometimes. I think the other members of the band had a different type of chemistry with Shane. Jem’s … has a very real chemistry with Shane, and it’s something I’ve observed at close quarters over the years. My friendship with Shane, obviously, is very tied up with the band but at the same time, it’s apart from the band. Its nature has had a different effect. The crucial relationship in The Pogues has been that between Shane and Jem.”
On being an "Irish" band. Philip Chevron was shocked to discover that the six members of Pogue Mahone were not, in fact, Irish. He wasn’t the only one. So persuasive and alive were their cover songs, so convincing their original compositions, that most people coming to the band for the first time were taken aback by James Fearnley’s uncompromisingly northern speaking voice, for instance, or by the Cockney bias of MacGowan’s original Tipperary accent. None of Pogue Mahone had been born in Ireland, and only Shane had lived there.
Accordingly, they were none too happy to be parcelled up as an “Irish band”
Jem Finer makes the point: “It’s a London band whose influences are from living in London but who have got this element of an Irish experience, although not exclusively so. Shane’s songs are the songs of a displaced person, not the songs of a native of a place. Shane, you could say, had the experience of feeling marginalised. To be Irish in those days was quite difficult in London, probably a bit like being a young Muslim now. A lot of people in the band had their own very separate experiences of being outside or marginalised slightly. That’s probably quite an important component in the chemistry and energy in the group. We all empathised with the sentiment of the songs, the much more universal element, rather than just the fact that many of them were Irish.
Phil Gaston on Darryl Hunt ‘We formed a band called Pearl And Dean and … made a tape called ‘The Ballad Of Pogue Mahone’. It was to the tune of ‘Old Orange Flute’. We went through every member of the band, how bad they were and how they couldn’t play their instruments.”
A Pair Of Brown Eyes is regarded by some as MacGowan’s finest composition – began life even earlier. Finer says: “It’s a brilliant song. I think it’s one of Shane’s real classics. It had another name originally. He wrote it about the time of the Falklands War [1982], and it was called ‘Me And Hanley’ or something like that. It had totally different lyrics. … Then he rewrote it. I found it a very exciting song, both lyrically and musically.”
Phil Gaston on the band’s legacy. “People still haven’t assimilated what The Pogues did. There’s no equivalent. The Saw Doctors, Black 47 – they all think all they have to do is play it really fast, really loud and put electric instruments in it. There’s an artistry that Shane had. You can’t just do it by formula. The Pogues are still unique.”
Terry Woods entry to the band. The Pogues were rehearsing in a room at the Boston Arms, a music pub in Tufnell Park, north London, when Terry Woods walked in with Murray. “I thought, ‘Fucking hell, this is really annoying,’ says Jem. “I didn’t like his manner. He seemed very uptight. He didn’t seem to acknowledge anyone. He said, ‘What’s the loose porter like in here, Frenchie?’”
Roughly translated, that means, “How’s the Guinness here, Frank?”
“So Frank and him started drinking a couple of pints of Guinness,” continues Finer. “We all met up and I thought, ‘Well, maybe he’s shy and it's all a bit weird for him too. It must be intimidating coming over here, and the poor guy doesn’t know what he’s letting himself in for.’”
James Fearnley – The Maestro – took on the responsibility for musical liaison. He remembers: “I sort of assumed rather arrogantly it would befall me to be the one to tell Terry how everything went. So I did. I think it went fairly well.”
…. “The first gig I did was in the Barrowlands in Glasgow,” says Woods. “It was a bit of a nightmare, it was nerve-wracking, but it was very enjoyable at the same time and I learnt a lot from it. There was a great atmosphere around the band at that time. It was a roll, electric. When you’re in a band, you know when something is beginning to happen. You can feel it. Nobody can put their finger on one specific thing that’s making it all go, ‘Boomph!’ It’s an electrical charge or something. When things are happening outside of one’s control and they appear to be good things and this charge is going on, you think, ‘This feels wonderful,’ and The Pogues was a bit like that. The reactions we were getting at gigs was astounding. The build was beginning.”
Terry on Live Aid. Woods is inherently suspicious of the glittering, fund-raising tradition inaugurated by Live Aid in 1985 and most recently continued with Live 8. He says: “The people on these stages are incredibly wealthy pop stars and they’re playing to this audience who have already paid their income tax. But most of these pop stars, the wealthy ones, they’ve all got tax dodges, like most corporations. These people are up onstage saying to the G8 people, ‘You’ve got to do this and you’ve got to do that.’ U2 had just played in Dublin three times in a week, and they earned something like eight grand for every two minutes they were onstage. You’ve got the likes of Madonna, Coldplay... and I don’t know where the ego ends and the altruism begins. There’s something that seems rather strange in all of this.
“The populus go along with it because they’re now fed this culture of bullshit from the media in terms of celebrity and stardom, which is very little to do with music or anything else. They all buy into it. I don’t understand how the world is becoming dumbed down to such an extent. It’s all instant. Sometimes I think, ‘Hold on, it’s your age.’ But for me, music is ruined. Whatever feeling was there, it’s just ruined. I wouldn’t even know how to begin to repair it now. Everything is a sell.”
On drug-users fronting an anti-drugs campaign. During this particular visit to Dublin, The Pogues were persuaded to film a “Just Say No” anti-drugs message for television. “We couldn’t really say no without appearing really churlish or like drug addicts,” laughs Spider. “We had our fingers crossed behind our backs.”
Andrew: “I think Frank Murray agreed to it – ‘It’ll get you seen on television, lads.’ I don’t think anyone took it seriously for a minute. We all just stood in a line and looked stupid, not very convincing.”
Chevron on Hunt joining the band “What Darryl did was he galvanised both me and Andrew into thinking and playing like a rhythm section. We began to find the foundation. We became the engine room, holding the thing together, and in turn that liberated everybody else in the band, the soloists and the lead-line players, to do what they do best. It gave them a solid bedrock. Whatever flights of fancy they went on, it was never going to get lost. To me, that was the defining point: when it became The Pogues was when Darryl did that. It turned the band into a different league as a musical entity. He was the final element that made the whole thing just fly.
Chevron on touring. “You have the syndrome that after three-and-a-half weeks on the road, you’re partly insane. Tour madness takes over after two weeks. The normal day-to-day courtesies of life don’t actually exist on the road. You come back and you’ve got tour madness and you’ve had a few drinks on the plane and you’re like a monster, a roaring fucking beast coming through the door. There’s this sort of debriefing period. Even at this late stage in the game, Bono’s honest enough to say Ali [his wife] won’t have him home for a week after a tour. He has to go and stay in a hotel. Ronnie Drew does it as well. You’re a different animal from the one that left and, as the gaps grow shorter, increasingly you’re just an animal all the time and it’s something it’s unfair to ask anybody to put up with.
The band’s highwater mark. The band ended 1988 with a round of German dates and a Christmas tour of Britain and Ireland, Kirsty MacColl turning out to thrill the already euphoric crowds with her inimitable recreation of MacGowan’s shrewish wife amid the snow showers of ‘Fairytale Of New York’. she remained onstage to join in the singing and general hilarity of the show. The tour came to an end at Dublin’s Point Depot on December 22.
In the space of three days, The Pogues had proved their continuing pulling power in London by headlining both Wembley Arena and Brixton Academy (December 17 and 19),
Shane’s increasingly erratic behaviour. MacGowan’s unpredictability, infuriating enough in his own circles, could become outrageous in his dealings with the outside world.
James Fearnley gives one example: “During the recording of Peace And Love, we were contacted by the family of a kid who’d been in a car crash and was lying in a coma in hospital somewhere. We were asked to record something for him – he was such a fan of The Pogues – that might assist in his recovery, something that might lift a corner of his injury and bring him back to daylight. So we put something on a cassette for the kid, you know, like, ‘This is The Pogues and we hope you get better.’ ‘This is Jem.’ ‘This is Philip.’ Shane wanted to contribute too, but his contribution, it was clear, was going to be a matter of shouting into the microphone, ‘WAKE UP! WAKE UP!’ We respectfully and painstakingly discouraged him from doing such a thing, pointing out that the tape would be as much for the ears of the kid’s parents as for the kid himself. It was a difficult hour or two.”
Steve Lillywhite on Peace & Love, “I think MacGowan’s voice had become weaker. I made a mistake with Peace And Love in mixing his voice quietly, which made a weak vocal worse. If I’d turned it up, I could’ve made a weak vocal better. I should apologise to him for that. I feel it could’ve been a much better album if the vocals, even if they were weak, had been louder in the mix. Quite often he would slur his voice a lot, so I would actually move the voice forwards in the track. Now you can do it really easily. In those days, it was quite a big job. I did that on a couple of tracks to try and get his voice more in the right place.” (I agree! The mix alienated a lot of people – it made you work hard to decipher the songs. P+L was the first Pogue’s record that ALL my mates didn’t buy. The day it came out we gathered around the speakers (after rushing back from Our Price) and on many songs the low vocals meant that whatever it was Shane was trying to communicate was lost. It sounded muddy. P+L just didn’t leap out of the speakers and grab you by the scruff of the neck like IISFFGWG. By about the third song, conversation had moved to something else …)
Drugs in the studio. Jem Finer is one of those who believes that cocaine was a hindrance rather than a help. He says: “I would say that too many people in the band were taking too much cocaine. It definitely had an effect on that record. I’ve always hated cocaine, and I think it’s responsible for a lot of rubbish that happened round the band. People often turn into complete arseholes – not always, but creative ideas fuelled by cocaine are often just shit. That probably is a problem. There was a lot of over-indulgence, musically. Things became over-complicated …. Everyone wanting their stuff to be heard. The collective ego of the band got fragmented into individual egos. I found it really, really tedious and frustrating and disheartening.
“‘USA’ is a case in point of sheer over-indulgence. I’ve got some tapes somewhere of mixes of that that are just incredible where it’s quite sparse. It had this amazing, brooding menace to it, and that sort of got lost. People kept overdubbing stuff more and more and it just lost a lot of its power.” (After complaining for 30 years about Phil Spector’s mix, the Beatles released Let It Be "Naked". Iggy put out a new mix of Raw Power. How about releasing a stripped down P+L with the vocals turned up?’)
Philip Chevron on Shane’s absence from Dylan gigs: “Shane’s always been a bit angsty, reserved or stand-offish, with people who would be his peers. There are very few people in his class who he actually knows, partly because he’s shy and partly because he hates the implied competition. Bob Dylan – if you want to get on an airplane, you can get on an airplane. Shane didn’t want to be judged alongside Bob Dylan. He loved Tom Waits but he had no interest in hanging out with Tom as the rest of the band did. What he has is so precious and personal to him that he hates to feel it’s under challenge or under question. Even if there’s a possibility of that, he backs off.”
The psychedelic experience. “When we went to Byron Bay,” relates James, “someone went off farming for mushrooms … and I had the most awful time with them. As soon as I took some of them, I wished I hadn’t. … So I went up to Charlie and I said, ‘You’ve got to get me out of here. I can’t handle it.’ He kept on slurring, ‘Wait a minute.’ The minute turned into 20, and then 40 minutes. We were at somebody’s pool at a house … Then Charlie said, ‘I’ve got to take Shane and Victoria back to the hotel, and I’ll take you as well.’
“In this car there was Shane and Victoria in the back and me and Charlie sitting in the front, and I was aware of the darkness out of the side of the car and the dashboard all lit up. Shane was Han Solo, Charlie was the Wookiee, I was Luke Skywalker and Victoria was Princess Leia. We zoomed along this mainly flat road with bumps in it every now and again. It was like going into warp speed with all the characters from Star Wars.”
Chevron on Strummer. “He was a very different frontman to Shane,” explains Philip. “That was appropriate to the way the band had developed. It was a very interesting time, but it was experimental. We wondered whether it might work in the long term. But the one person who kept appearing onstage was the ghost of Shane, and it was never going to stop getting in the way, however brilliant it was with Joe. It was like Banquo’s ghost, and that dispirited Joe and us, cos we realised we weren’t going to be able to move on with him, unfortunately.”
Fearnley on Spider. And then, says James, “We replaced one singer [MacGowan] with another one who couldn’t sing as well and didn’t write as many songs as the last one did and was as much of a fuck-up as the original one had become. It was out of the frying pan and into the blazing furnace...”
Fearnley’s last gig with The Pogues came at the end of a run of UK gigs at a familiar venue – the old Town & Country Club in Kentish Town, now known as The Forum – at Christmas 1993.
He remembers: “Shane and Joe [Strummer] were both at the gig and I think I’m right in saying they both performed. I don’t remember what Shane did, what he sang. At the end, in ‘Fiesta’, I remember sinking to the ground and they all sort of gathered round me in a huddle. I won’t forget that. (In fact, Shane didn’t join the band that night. How do I know? Because I was sat next to him in the audience!! I’d seen a Reserved For Shane MacGowan sign on a balcony seat and towards the end I went over and there he was, an empty seat beside him. I asked for an autograph and he wrote Freedom! in Irish on my travelcard. It occurs to me only now it might have been a sly reference to him being free of The Pogues merry-go-round.)
Chevron on homophobia. (Philip) had tried to buy a home in Dublin in 1990 and as a result of the red tape that he encountered, will never live in Ireland again. “I had come to the notion that, after 13 years in London and flushed with success, the time might be right to re-establish my Irish roots. In order to qualify for either the mortgage or the insurance on the mortgage, it was required that I take an HIV test, as an apparently high-risk category. It was not specified if this was because I was a Pogue or because I was openly gay and, rather than ask, I just got on with the damn thing. The test came back HIV negative, as I had supposed it would, but I was turned down for my mortgage anyway. When I asked why, I was given the Kafka-esque explanation that I was turned down because I had been required to do an HIV test! This news was transmitted to me by an office junior, by phone, to my hotel room in Tokyo.
“I understand the law about these things may since have changed in Ireland, but if so, it came too late for me. My battles against injustice and homophobia in Ireland had all been uphill. If the new, liberal, forward-thinking Celtic Tiger was still requiring me to fight on even the most mundane of levels at the age of 33, it would have to have its Brave New Ireland without me. There and then, in my Tokyo hotel room, I vowed I would never again be a permanent resident of Ireland. I have now lived in Britain for 29 years.”
Fearnley on Waiting For Herb “To my mind a pretty crap album all round … A lot of it seemed to be characterised, for me, by a sort of troglodytic husbandry in the bowels of some cave by underlings who are undertaking what they think might be the work expected of them by the departed Great One – a sort of hobbit thing without Gandalf, all very worthy but not quite there.” (Eh? Been at the mushrooms again!!)
Chevron on visiting his ex-bandmates, “I was painfully aware that they were on the slide. In Spinal Tap terms, they were going on before the puppet show. They were playing at smaller places.” Andrew agrees: “It was quite soul-destroying. I think we ended up in a position where we realised we could go on doing the same circuit forever with any old line-up as long as there was a few of the original members in. But it wasn’t a very exciting circuit, and the gigs were slowly shrinking. It just became like hack work.
James Fearnley on Shane (this is great!) Everything went quiet in 2003, apart from the release in June of the documentary, If I Should Fall From Grace: The Shane MacGowan Story… James Fearnley was invited to represent The Pogues at a Q&A session after the screening at the Egyptian Theatre in Hollywood.
He remembers: “A guy in there was so outraged by Shane. He might have been coming from a Californian point of view where people are looking after themselves with healthy diets and not smoking and taking lots of exercise and stuff. And honestly, he was so outraged that somebody like Shane should actually exist in this day and age, and that nobody had ever done an intervention or something.
“This guy threw me so much that I didn’t know what to say, because I’d been put on the spot. I kind of felt a little bit guilty that I was in part way responsible for Shane being like that. In some people’s view, I might have enabled him in ‘self-destruction’ or whatever. It was probably my upbringing that made me feel guilty.
“But on account of that guy, I’ve had a think about it and now I think I appreciate more what Shane’s up to than probably I ever did. In a completely happenstance way, Shane is having a look at the cosmos closer up than certainly I can. It’s really good for humanity to have somebody out there fucking it up. The absurdity of life is going to bring out somebody that just exists on the brink of something all the time. Shane couldn’t function if he weren’t on that brink. He could stop drinking and whatever else he medicates himself with, but he would still be on the brink. Seriously, I think there’s no way of avoiding that. He’s staring into the void, and I don’t want to do that.
“He’s embracing things that lots of us daren’t and he’s telling us what he can see in his songs. I think he’s donated himself to the vagaries of the cosmos and that’s what makes him what he is. We need people like Shane around, because they’ve got a point of view that’s pretty unique and valuable. He’s full blast on the prow of the ship and he’s taking everything. And it’s life. I don’t mean death or anything. He’s out there saying, ‘Bring it on.’”
Backstage at the Reunions. Chevron: ‘People tend to exchange news about how their daughters are doing in school or college, or how their parents’ health is, the things that middle-aged men actually talk about. Dressing-room conversations now revolve around prostate glands and the need for stronger spectacles. It’s a real loving relationship where everybody has been around each other long enough to talk about anything, and we do.”
Frank Murray on the reunion: “They’re making themselves a lot of money, and I’m glad they’re doing it, but there’s one thing I feel is missing. There’s no creative process going on with them as a band. They’re not striving to make a record …But as long as Shane stays fit and healthy, it should work out.”
Terry Woods: “The Pogues were too big a band to go out with a whimper. I was quite delighted about the reunion. It appeared if nothing else that we could put a proper full-stop after The Pogues.”
Carol Clerk’s Pogue Mahone Kiss My Arse is published on Oct 9th
Last edited by CM on Thu Oct 05, 2006 10:25 am, edited 5 times in total.
- CM
- Il Dottore
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- Location: London
Wed Oct 04, 2006 11:44 am
Wow, CM, that's a great deal more than hoped for! James on Shane and Philip on backstage stand out - I've always admired their ability to home in so clearly on the central points and describe an atmosphere with so much colour that you almost feel you'd been there. I'll have to wait for a good read for tonight but many thanks!
- Christine
- Scaramuccia
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- Joined: Tue Jul 13, 2004 8:09 am
Wed Oct 04, 2006 1:32 pm
Wow, CM, that's a substantial taster! Some of today's deadlines may have to be put back a bit... and of course I'm vaguely jealous that this is not the sort of thing that I usually get sent to review... 
Hasn't spoiled my appetite to read the book, though. Thanks.
Hasn't spoiled my appetite to read the book, though. Thanks.
Last edited by firehazard on Wed Oct 04, 2006 3:13 pm, edited 1 time in total.
Likes the warm feeling but is tired of all the dehydration.
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firehazard - Sports Forum Groundskeeper
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- Location: Down in the ground
Wed Oct 04, 2006 1:42 pm
Thanks CM for posting that.
Realy looking forward to the book.
Anychans you know where to order the book?
Thanks in advance.
Johan
Realy looking forward to the book.
Anychans you know where to order the book?
Thanks in advance.
Johan
"He capsized the boat and we lost five men
And we did not catch the whale, brave boys
And we did not catch the whale"
And we did not catch the whale, brave boys
And we did not catch the whale"
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Johan From Sweden - Innamorato
- Posts: 1876
- Joined: Mon Aug 28, 2006 12:11 pm
- Location: Gothenburg Sweden
Wed Oct 04, 2006 1:49 pm
Johan From Sweden wrote:Anychans you know where to order the book?
It can be ordered from amazon.co.uk. But I don't know if that's any help in Sweden, Johan...
Likes the warm feeling but is tired of all the dehydration.
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firehazard - Sports Forum Groundskeeper
- Posts: 11330
- Joined: Sat Dec 18, 2004 10:17 am
- Location: Down in the ground
Wed Oct 04, 2006 2:01 pm
firehazard wrote:Johan From Sweden wrote:Anychans you know where to order the book?
It can be ordered from amazon.co.uk. But I don't know if that's any help in Sweden, Johan...
I´ll try that firehazard, Thanks. Hope thay can send it to Sweden for a goood price.
Don´t think any store in Sweden will import it whithout having some preorders
If anyone from Sweden knows where to bye it please email me.
Johan
"He capsized the boat and we lost five men
And we did not catch the whale, brave boys
And we did not catch the whale"
And we did not catch the whale, brave boys
And we did not catch the whale"
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Johan From Sweden - Innamorato
- Posts: 1876
- Joined: Mon Aug 28, 2006 12:11 pm
- Location: Gothenburg Sweden
Wed Oct 04, 2006 2:06 pm
Heather wrote:Sorry if this has been asked before, but will it be available in any normal bookshops?
Never been in a normal bookshop in me life or, if I have, it has not detained me long. But yes, I understand Carol Clerk's book will be on sale in all the usual outlets.
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philipchevron - Harlequin
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Wed Oct 04, 2006 3:50 pm
It's pogues22 back once again with a new username. Such passion and truth, I can't wait for the book. I agree with Steve Lillywhite about the production of Peace and Love being murky, but as I've always said, to my mind its the Pogues most underrated album. I loved James Fearnely's sentiments about Waiting For Herb, love the Lord of the Rings correlation. I was shocked when I read about the hardships that beset Philip Chevron when he was trying reestablish his Irish roots and by house in Ireland. Overall, I can't wait to read this book.
P.S. Mr. Chevron your thoughts what was better Peace and Love or Hell's Ditch.
Iain
P.S. Mr. Chevron your thoughts what was better Peace and Love or Hell's Ditch.
Iain
- pogues24
Wed Oct 04, 2006 4:57 pm
Johan From Sweden wrote:Thanks CM for posting that.
Realy looking forward to the book.
Anychans you know where to order the book?
Thanks in advance.
Johan
Buy it when you are in Glasgow, Johan
Unless you are very impatient
Cheers Mats
The piano has been drinking, not me
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mats - Brighella
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