The Pogues were founded in King's Cross, a district in north London, in 1982 as Pogue Mahone - "pogue mahone" being the Anglicisation of the Irish póg mo thóin, meaning "kiss my arse". The band specialised in Irish folk music, often playing with the energy of the punk rock scene from which several of the members had their roots.
Their politically-tinged music was reminiscent of The Clash, with whom they played (Joe Strummer produced one of their albums and even joined the group briefly), and used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin, accordion, and more. In the later incarnations of the band, after the departure of Shane MacGowan, electronic instruments such as the electric guitar would become more prominent. The first of The Pogues' albums, Red Roses for Me, borrows much from the punk tradition of MacGowan's previous band The Nipple Erectors (later dubbed The Nips).
Band history
Shane MacGowan (vocals), James Fearnley (accordion) and Spider Stacy (tin whistle) were the original members of the Pogues, in the days when they busked on the streets of London. Before the rest of the group formed, MacGowan and Stacy were rumoured to have played impromptu performances on street corners and city buses which attracted local interest to their talent. They later added Jeremy 'Jem' Finer (guitar, banjo), Cait O'Riordan (bass) and Andrew Ranken (drums). The band rapidly developed a reputation, started releasing independent work, and ended up opening for The Clash on tour in 1984. Shortening their name to "The Pogues" due to lack of radio play for the curse in their name, they released their first album Red Roses for Me that October.
Phil Chevron (guitar) joined the group soon after, then with the aid of punk and new wave forefather Elvis Costello they recorded the follow up, Rum Sodomy & the Lash, in 1985 (The album title is a famous comment attributed, probably falsely, to Winston Churchill and others in describing the traditions of the British Royal Navy). The album cover featured The Raft of the Medusa, though the faces on the characters in Géricault's painting have been replaced with those of the band members. While the first album had featured a higher percentage of traditional songs, Shane MacGowan came into his own as a songwriter with this disc, offering up poetic story-telling, such as "The Sick Bed of Cúchulainn" and "The Old Main Drag," as well as definitive interpretations of Ewan MacColl's "Dirty Old Town" and Eric Bogle's "And the Band Played Waltzing Matilda," the latter of which has become more popular than the original recording.
The band failed to take advantage of the momentum created by the strong artistic and commercial success of their second album. They first refused to record another album (offering up the 4 track EP Poguetry in Motion instead); O'Riordan married Costello and left the band, to be replaced by bassist Darryl Hunt; and they added a multi-instrumentalist in Terry Woods, formerly of Steeleye Span. Looming over the band at this period (as throughout their entire career) was the increasingly erratic behaviour of their vocalist, principal songwriter and creative visionary, Shane MacGowan.
Success & breakup
The band remained stable enough to record If I Should Fall from Grace with God in 1988 (with its Christmas hit duet with Kirsty MacColl "Fairytale of New York") and 1989's Peace and Love. The band was at the peak of its commercial success, with both albums making the top 5 in the UK (nos. 3 and 5 respectively), but MacGowan was spiralling out of control. Following their next album, Hell's Ditch, MacGowan and the band parted company in 1991.
With his departure, the band was thrown into a state of flux. Without their singer, vocal duties were for a time handled by Joe Strummer, before Stacy finally took over permanently. Two politely received albums followed, the first of which, Waiting for Herb, contained the band's third and final top twenty single, "Tuesday Morning" which became their best selling single internationally. In 1996, the Pogues disbanded with just three members remaining.
Post breakup
Shane MacGowan founded Shane MacGowan and The Popes in 1994. They recorded two studio albums in the period up to their split in 2002. MacGowan's autobiography, A Drink With Shane MacGowan, co-written with his journalist girlfriend Victoria Mary Clarke, appeared in 2001. During this time the three other long-term members of the Pogues (Spider Stacy, Andrew Ranken and Darryl Hunt) played together briefly as the Vendettas.
Reunion
The band, including MacGowan, re-formed for a Christmas tour in 2001 and performed 9 shows in the UK in December [2004]. In 2002 Q magazine named The Pogues as one of the "50 Bands To See Before You Die". Also in December 2004, VH1 Conducted a poll to find the best Christmas song ever, with "Fairytale of New York" coming number one with 2,650 of the 10,000 votes cast - over 25%. In early 2005, VH1 conducted another poll to find the 100 greatest number ones that never Were, With The Pogues coming in at number 27.
In July 2005, the band - again including MacGowan - played at the annual Guilfest festival in Guildford before flying out to Japan where they played three dates. Japan is the last place they all played together before MacGowan was originally sacked in 1991, and they have a strong following there. They played a date in Spain in early September. The reunited Pogues played dates in the UK with support from the Dropkick Murphys in late 2005, and re-released their 1987 Christmas classic "Fairytale Of New York" on 19th December, which went straight in at #3 in the UK Singles charts on Christmas Day 2005, showing the song's enduring popularity. On December 22nd 2005 the BBC broadcast a live performance (recorded the previous week) on the Jonathan Ross Christmas show with Katie Melua. "Fairytale of New York" was voted the greatest Christmas Record of all time for the second year running in a poll by UK Music Channel VH1, with "Fairytale of New York" taking in a whopping 39% of the overall vote.
The band was awarded the life-time achievement award at the annual Meteor Ireland Music Awards in February 2006.
In March 2011, the Pogues played a six-city/ten-show sell-out US tour titled "A Parting Glass with The Pogues". In August 2012, The Pogues undertook a 30th Anniversary European Tour.
Discography
Albums
Red Roses for Me - 1984, #89 UK
Rum, Sodomy, and the Lash - 1985, #13 UK
Poguetry in Motion (EP) - 1986, #29
If I Should Fall from Grace with God - 1988, #3 UK, #88 US
Peace and Love - 1989, #5 UK
Yeah Yeah Yeah Yeah Yeah (EP) - 1990, #43 UK
Hell's Ditch - 1990, #11 UK
Waiting for Herb - 1993, #20 UK
Pogue Mahone - 1996
The Best of The Pogues - 1991, #11 UK
The Rest of the Best - 1992
The Very Best of The Pogues - 2001, #18
The Ultimate Collection including Live at the Brixton Academy - 2001, #15 UK
Dirty Old Town: The Platinum Collection
Turkish Song Of The Damned
The Pogues Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Across the rotting sea
Nor the nails of the cross
Nor the blood of Christ
Can bring you help this eve
The dead have come to claim a debt from thee
They stand outside your door
Four score and three
Did you see the woman with the comb in her hand
Wailing away on the wall on the strand
As you danced to the Turkish song of the damned
You remember when the ship went down
You left me on the deck
The captain's corpse jumped up
And threw his arms around my neck
For all these years I've had him on my back
This debt cannot be paid with all your jack
Did you keep a watch for the dead man's wind
Did you see the woman with the comb in her hand
Wailing away on the wall on the strand
As you danced to the Turkish song of the damned
Did you keep a watch for the dead man's wind
Did you see the woman with the comb in her hand
Wailing away on the wall on the strand
As you danced to the Turkish song of the damned
And as I sit and talk to you I see your face go white
This shadow hanging over me
Is no trick of the light
The spectre on my back will soon be free
The dead have come to claim a debt from thee
Did you keep a watch for the dead man's wind
Did you see the woman with the comb in her hand
Wailing away on the wall on the strand
As you danced to the Turkish song of the damned
Did you keep a watch for the dead man's wind
Did you see the woman with the comb in her hand
Wailing away on the wall on the strand
As you danced to the Turkish song of the damned
Did you keep a watch for the dead man's wind
Did you see the woman with the comb in her hand
Wailing away on the wall on the strand
As you danced to the Turkish song of the damned
The Pogues’s song “Turkish Song of the Damned” recounts the story of a man visited by his friend who has come back from Hell, bringing with him ghosts of dead debtors. The lyrics depict a haunting scene of the dead standing at the debtor’s door, waiting to collect on his debt. The debtor is helpless as neither the nails of the cross nor the blood of Christ can save him from the dead that have come to claim what is owed to them. The lyrics suggest that the debtor had left his friend behind on a sinking ship, and the Captain’s corpse had somehow clung to the friend’s back. The friend had been paying off his debt through the years, but now, as the spectre on his back is set to be “free,” the dead have come to claim their due.
The song is a mix of folklore, mythology and history, with a nod to Turkish music. The Pogues are known for their fusion of punk, folk and Celtic music, and the Turkish themes in “Turkish Song of the Damned” are a testament to this fusion. The song takes inspiration from the story of Billy Byrne, an Irish revolutionary who fought alongside the Turks during the late 1800s. The lyrics “As you danced to the Turkish song of the damned” portray the idea of people joining forces with foreign nations, dancing to the music of their enemies to further their mutual goals. Additionally, the lyrics “The dead have come to claim a debt from thee” are reminiscent of ancient Irish beliefs of dying with unpaid debts, which would mean the deceased person would have to wander the earth until the debt had been paid.
Line by Line Meaning
I come old friend from Hell tonight
I, a spirit from the depths of Hell, have returned this night
Across the rotting sea
I have traversed the putrid, decaying sea to come to you
Nor the nails of the cross
Even the torture and death of Christ cannot save you
Nor the blood of Christ
Not even the spilt blood of Jesus can protect you
Can bring you help this eve
There is no aid to be found for you tonight
The dead have come to claim a debt from thee
The deceased have arrived to collect what is owed to them from you
They stand outside your door
These spirits wait outside your threshold
Four score and three
Eighty-three have come to seek retribution
Did you keep a watch for the dead man's wind
Have you been mindful of the ominous warning of impending doom?
Did you see the woman with the comb in her hand
Have you witnessed the woman combing her hair upon the shore?
Wailing away on the wall on the strand
Crying out for her lost lover on the beach wall
As you danced to the Turkish song of the damned
While you reveled in the cursed Turkish tune
You remember when the ship went down
Recall the moment when our vessel was wrecked
You left me on the deck
You abandoned me on the planks
The captain's corpse jumped up
The dead captain suddenly rose from the depths
And threw his arms around my neck
And embraced me tightly
For all these years I've had him on my back
I have carried his burden for years now
This debt cannot be paid with all your jack
All the riches in the world cannot repay this debt
And as I sit and talk to you I see your face go white
As we converse, I notice your face blanch in fear
This shadow hanging over me
This ominous presence looms over me
Is no trick of the light
This is not a mere trick of the eye
The spectre on my back will soon be free
The ghostly burden I bear will soon be released
The dead have come to claim a debt from thee
The deceased have arrived to collect what is owed to them from you
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: Jeremy Max Finer, Shane Patrick Lysaght Macgowan
Lyrics Licensed & Provided by LyricFind