Customer Reviews

If I Should Fall from Grace With God

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4 star:		(3)
3 star:		(1)
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This was the first Pogues album I ever bought. I had listened to Peace and Love when it came out, but I had (I am embarrassed to admit) dismissed this band as creators of "pirate music". And indeed, they do have a bit of a sea-shanty feel to them at times on their romps. But for me to continue to hold the "pirate" opinion would have been to blindly ignore the tremendous musicality and brilliant poetry of this band.

Most everyone realizes that the drunken delivery of Shane McGowan of poetic lyrics are brilliant. But would the brilliance come through without the tight composition of rollicking Irish music that backs the words? The seven backing musicians, especially on the fast, punk-tinged romps such as "Sit Down By The Fire" and the title track, show of a virtuosity unknown within the realm of punk (the place where most people put the Pogues). Songs such as "Metropolis" are nothing short of amazing. Songs such as "The Broad Majestic Shannon" glisten with a Joycean sheen of Guinness in pubs on a Saturday morning before going off to watch the local rugby club combined with a feeling of a stone house in a heather lea in the mist. Old Ireland meets "London Calling".

I have a collection of almost 1000 cds, and this one is always in the rotation, along with "Rain Dogs" by Tom Waits, David Bowie's "Heroes", and "Workbook" by Bob Mould. While it may take a few listens to really discover what makes this disc tick, it is worth the effort. Nothing short of the most rewarding disc to come out of England in the mid-80s.

This is a unique piece of work. It is Irish, folky, punk, poetic, rocking, universal. It is hard to understand each sung word because many of the songs race along at break-neck speed and are sung by people with heavy accents, and dubious sobriety. You know what? That doesn't even matter. One is swept away by the glorious sense of fun which leaps from the disc. The "Fairytale of New York" number with guest vocalist Kristy McColl (alas, no longer alive) is worth the purchase price all by itself, and in that one, the diction is just fine. It is one of the best songs and performances I've heard in more than 50 years of listening. I learn from reading the reviews of the other 39 fans who got to this item ahead of me that one can only buy this via Import now...there is no cheaper, U.S.-manufactured disc available. That is incredible. I've heard three other Pogues releases, and this is the most memorable.

As a longtime Pogues fan I can only say "WOW" when I put "If I Should Fall From Grace..." in the CD player. I had the good fortune to meet Liam Clancy of the Clancy Brothers once and while talking with him over a cup of tea I mentioned my affection for the Pogues to which he replied... "The Pogues are a cross between the Clancy Brothers and the Sex Pistols...with five teeth between them." If that isn't a ringing enough endorsement to buy this CD I don't know what is.

I've heard the album, no lie, over 1,000 times and every time I am struck with awe at the passion and musicianship and songwriting prowess of Shane, Spider (aka "three teeth") and the boys. Streets of Sorrow/Birmingham Six has enough raw power and emotion to transport the listener to the troubled streets of Belfast. And the two tracks on the CD which don't appear on the original album, the Broad Majestic Shannon and South Australia (I think that's the name of the song) are worth the $$$ alone. The music is fantastic as the band produces it's most mature and self-assured sound of any of their albums.

Grab a pint of Guiness, put the CD on, sit back and enjoy this talented band that kicks serious ass while playing traditional instruments of their forefathers.

Though I prefer the American cover, I have to admit the European cover says it all. The Pogues. If I Should Fall from Grace with God. Spelled out in a classic font. Black and red text like a Bible. On the left, we have Spider Stacy with his western string tie, his slicked back gangster hair, and his Generation whistle. These and his direct, Clint Eastwood stare look exactly like his whistle sounds: a reverb drenched keen over Finer's spaghetti western scores. Next to him stands Andrew Ranken, looking like the displaced R&B drummer he is. He doesn't get to showoff until the next album, Peace and Love, but a close listen reveals how much of the band's energy comes from his simple floor tom and snare parts. Bottom left, Daryl Hunt and his hair. Hey, Pogues or not, it was the eighties, and his hair was nothing compared to Cait's. Phillip Chevron. The odd man out even in a group of odd men. One of the two in the band with a genuine lilt, but his with strange Broadway squeal that somehow managed to harmonize with MacGowan when it was needed. And Shane in the middle, holding himself up (we won't speculate why as some are prone to) with a bodhran. It strikes me now, in 2005, how young he looked back then, beardless and broad-eared. This well-read man had a genuine gift early, which is rare for literary talents. To his right, Terry Woods with his first full-length appearance. Founding member of Sweeny's Men, who managed to beat even Fairport into the Celtic folk-rock scene. Guitar abandoned, he grips his cittern as if it and his tux are the only things separating him from these ruffians. On bended knee, Jem "Country" Finer. You can take a boy out of the country, but I doubt anyone would tell you to take the country out of Irish music after Jem made it work. He was no Earl Scruggs, but I get the feeling even Shane learned something about songwriting from this plaid-shirt wearing former computer science teacher. And last but not least, James "Maestro" Fearnley, his beautiful Hohner stretched out. Piano accordion may be a bad choice for Irish melodies, but James had something grander in mind and, by gob, he made it lilt and bounce somehow and lifted the music higher, no matter what Shane says in hindsight.

And then the album itself. Some say it's overproduced, that Lillywhite ruined The Pogues. I don't know what I can say except listen to the first eight notes of "If I Should Fall from Grace with God" and see if you can stop there and not finish the next eight or the whole song or the whole album. I couldn't. That's how I got hooked. This is the first album I heard by The Pogues, and I have only the fondest memories for it. In other words, I'm obviously biased. With little serious competition, I claim this as my favorite album of all time. Having played celtic music for 10 years now myself, I'm still amazed to find I can learn from it in composing, arranging, and engineering to this day. Pure art. A masterpiece.

This is as close to a perfect album that I have ever heard. Clever songwriting, supurb playing, excellent production, and Shane MacGowan's inimitable vocals. This was my first Pogues CD and it changed the way I think about music. Do yourself a favor and listen to it.

Every year around December, among the truly great Christmas songs I hear -- White Christmas and The Christmas Song, for example -- one song is always missing. In order to hear "Fairytale of New York," I have to play this CD.

This, of course, is no problem. This is a terrific CD with excellent songs throughout. Highlights include "If I Should Fall from the Grace With God," the bittersweet "Thousands Are Sailing," "Streets of Sorrow/Birmingham Six," "Lullaby of London," and the rousing instrumental tracks.

Shane MacGowan is an amazing songwriter, but even when he hasn't penned the track, his delivery carries such an amazing weight and sincerity (excellently displayed on the bands previous effort: Rum, Sodomy and the Lash's "Dirty Old Town" and "The Band Played Waltzing Matilda.")

It's on "Fairytale of New York" where MacGowan's writing and delivery come together perfectly. A duet with Kirsty MacColl, this song is too good not to be heard by a wider audience and not just in Irish pubs when the temperature drops. I can hardly listen to it with having a tear form in my eye and a lump in my throat. I know its been said before in the reviews, but this masterpiece of a song is alone worth the purchase of this CD.

I bought this CD many years ago after seeing the Pogues on Sat night live. In the span of the Pogues recording career, something magical happened on this one. Perhaps it was Steve Lillywhite's genious, or just the right time for the band. If I were stranded on a deserted island with only 5 cd's to hear for the rest of my life, this would be one. I've heard it a million times and it's still stands the test of time. So many great songs with so much to say- if you haven't heard the Pogues or Shane MacGowan yet- start here. If you buy this one, you'll have the whole Pogues/Shane collection within a year. I've been hooked for 8 wonderful years and damn, it's really great to be Irish! Raise a pint of the black stuff and prepare to be reborn!

I wish I could take credit for that line, but I can't, and I don't remember who can. In any event, it's true. Imagine traditional Irish music, fused with a furious punk sensibility, and you're there. All of their albums have some fine music, but this is the only one that is consistent from start to finish. Shane McGowan is a true romantic with an incredible gift for words. (If you thought "The Sinking of the Edmund Fitzgerald" was haunting, check out "The Turkish Song of the Damned".) He takes on injustice against the Irish, Love, Despair, and Hope, without becoming annoying like "complaint rock". I can't recommend this album enough.

A friend back in San Diego introduced me to the Pogues music about five years ago and this was the album that made me a fan.
Straightaway, a sonic riot comes at you with a relentless energy. You can just picture this scene in a pub: fists and chairs flying, glasses breaking, and pool cues swinging while Shane MacGowan and Company are on stage lustily urging every one on.
My favorites are the manic title cut and the even more maniacal Fiesta. Pour in the bittersweet Fairytale of New York, stir in the strident and pointed anti-British politics of Medley and Streets of Sorrow/Birmingham Six, then shake in the majesty of The Broad Majestic Shannon and you have yourself one heady brew of a CD. The rest of the songs add the necessary froth.
Since I had worn my cassette out, I am very happy to have found this CD here. I heartily recommend this to anyone who likes quality, high-energy music with an Irish edge.

The Bosstones, Dropkick Murphys, Black 47, Flogging Molly, and countless other bands since have been influenced by the madness of The Pogues. The lead singer Shane MacGowan's notorious reputation for drinking and drug use and actually making it through a set has overshadowed the musicians, who are as confrontational as any punk rock band. I'd put this up against London Calling and Joshua Tree (U2's producer also worked on this one) easily because it still sounds as fresh as it did over 15 years ago.

The result is classic. It's got a great beat. The title track is a punk meets Celtic explosion. Turkish Song of the Damned gives it a middle-eastern flavor. The "Fairytale of New York" is the most known off of this, with Kirsty MacColl duetting with Shane on one of the greatest Xmas songs ever written. Any song that starts off with "It was Xmas Eve babe, in the drunk tank" HAS to be good. But it's a catchy song that you will have a hard time getting out of your head for weeks. "Metropolis" is an instrumental, and "Fiesta" is an insane punk mariachi celtic clash. Irish coffee with tequila.

The Medley and Worms are the more traditional songs but done Pogues style, and "Broad Majestic Shannon" round this one out.

Not a bad song in the bunch. Not a dull moment, and this one competes with "Rum.."as greats.