The Pogues: Hell's Ditch (Remastered + Expanded) CD Track Listing

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The Pogues Hell's Ditch (Remastered + Expanded) (1990)
Hell's Ditch (Remastered + Expanded)\n2006 Rhino Entertainment Company\n\nOriginally Released October 19, 1990\nUK Remastered + Expanded CD Edition Released January 11, 2005 \nUS Remastered + Expanded CD Edition Released September 19, 2006\n\nAMG EXPERT REVIEW: After the embattled recording of the Pogues' Peace and Love, with Shane MacGowan clearly at odds with his bandmates and their musical direction while contributing little in the way of new songs, Hell's Ditch seemed at once like a step forward and a step back for the group. While Peace and Love suggested the Pogues had grown weary of the hot-rodded Celtic sounds that had been their trademark, Hell's Ditch found the band back in more familiar territory and sounding much refreshed; if there wasn't anything as manic as the high points of Rum Sodomy & the Lash or If I Should Fall from Grace with God, these sessions reveal the Pogues had found their feet and were sounding like a band again, and while a few of MacGowan's songs lead them through his fascination with Asian and Latin accents, the musicians were able to fuse them with their own trademark style rather than being subsumed by them; the Pogues rarely sounded as graceful or a comfortable as they do on Hell's Ditch. However, MacGowan's songwriting still hadn't regained the fire and acidity that made the group's first three albums so powerful, and Terry Woods and Jem Finer don't quite pick up the slack. More importantly, while Joe Strummer's production served the band well, he was seemingly too fond of MacGowan to tell him when his vocals were all but unintelligible, and many of the songs are all but sunk by Shane's sloppy, mush-mouthed, and booze-addled delivery, which is difficult to unravel even by his standards. While there are many pearly moments on Hell's Ditch that suggest the work of a happier and more unified band than on their previous albums, MacGowan's poorly focused performances are a handicap the Pogues couldn't overcome, and it seems appropriate this was the band's last studio album with their primary songwriter and frontman. \n\n[In 2006, Rhino Records reissued Hell's Ditch with remastered audio, new liner notes (including a poetic appreciation of the band from Tom Waits), and seven bonus tracks. Of the bonus material, the most immediately impressive numbers are the jaunty instrumental "Squid Out of Water," a stripped-down early take of "Rainy Night in Soho," and a full-bodied cover of "Whiskey in the Jar"; however, only serious fans of both football and the Pogues will need to hear "Jack's Heroes," which was written in support of Ireland's team in the 1990 World Cup tournament and hasn't dated especially well.] -- Mark Deming\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe church bell rings, an old drunk sings, December 20, 2006 \nBy Jason Michael Crannell "The Pilfering Monk" (somewhere just outside the salt city)\nThis is the fifth and final album that the Pogues and Shane MacGowan collaborated on, and it's a nice swan song. While it doesn't quite live up to the stature of the band's first three albums, it's a marked improvement on their fourth record (Peace & Love). It's a surprisingly upbeat album, considering the nature of some of the lyrics, and the outside influences that would soon cause the band to move forward without it's driving force. Songs like "The Sunnyside of the Street", "Sayonara", "Summer in Siam", and "Rain Street" are among the Pogues all time best works. Unfortunately, the album loses it's momentum after a strong first half, and the bonus tracks that are included on the remastered edition, aren't particularly memorable for the most part. Still, for those that love the Pogues, this album is definitely worth purchasing, and enjoying time and time again. \n\n\nAMAZON.COM CUSTOMER REVIEW\nParting Glass..., November 24, 2006 \nBy Mark Shook "vmorrisey" (San Diego, CA United States)\nAfter "If I Fall From Grace Of God" you can tell something is happening to Shane MacGowan. On "Red Roses For Me" he sounds sharp intense and clear. When you get to "Hell's Ditch" he sounds muttled confused worn out and his voice has more of a gutteral sound. This is a way better album than "Peace and Love" the music is different than the rest of the albums. the songs have more of a vary from spanish guitar and asian influenced music to pop with Shane's great songwriting. Many of the songs subjects are based off of Shane's trips to Thailand to dry out. The songs are great mostly but the vocals are harder to listen to. It is sad all of that talent got stifled by his addictions, I guess this is selfish since if he wasn't so talented I wouldn't care. \n\n\nAMAZON.COM CUSTOMER REVIEW\nUnderrated masterpiece but remastered sound is the pits, July 1, 2007 \nBy Robert M. Enslow "Bobbyswitchblade" (Blackhole, USA)\nThis is my favorite Pogues album (Red Roses is a close second) but does anybody share my opinion that some of these remasters really rob the music of a certain vital quality? To my ears it seems that by bringing each individual instrument into more enhanced clarity it robs the overall sound of it's cohesive buzz. I'm all for remastering and the bonus tracks are a tasty addition but on this album, Red Roses, and Peace and Love (also underrated in my opinion) they really do the music a disservice- wankers. Like I say, these are great for the bonus tracks but if you have the original masters my advice is to hang on to them. By the way- you don't need to be piss drunk to enjoy the Pogues. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMacGowan's Last Dance, February 6, 2005 \nBy Pogues Fan\nBy the time the Pogues started recording "Hell's Ditch," it had become clear that Shane MacGowan's excesses were starting to affect his muse. Thailand is the overall theme for the songs that MacGowan wrote for "Hell's Ditch," and overall the album seems to have a more relaxed vibe around it than the previous Pogues releases. Produced by the late great Joe Strummer "Hell's Ditch" finds the Pogues expanding their musical boundaries, adding Eastern and Spanish sounds into their catologue with such songs as "Lorca's Novena and The Wake of the Medusa." As before MacGowan's songs are the best on this release, however his vocals are not up to par, in fact it sounds like he is in a drunken stupor most of the time. However, such songs as "Sayonara, The Ghost of a Smile, Summer In Siam, Rain Street,and House of the Gods," showed that MacGowan could still pack a wallop. The MacGowan/Finer songwriting team, that was lacking on "Peace and Love," returns with the excellent "Sunnyside of the Street, 5 Green Queens and Jean and Hell's Ditch," "Maidrin Rua" is a good traditional reworking instrumental, while Terry Wood's "Rainbow Man" and "Six to Go, about the "Birmingham Six," round off the album. Overall, "Hell's Ditch" lacks the fireworks of the previous Pogues records, this one doesn't even come close to the brilliance of the first three Pogues records, I even prefer "Peace and Love," over "Hell's Ditch." However, "Hell's Ditch" is still a very good album, and the last one that Shane MacGowan would do with the band, even though MacGowan would later disown much of this record. \n\nThe new remastered version of "Hell's Ditch" is wonderful. Jem Finer's "The Bastard Landlord and Curse of Love," make their mark again. Shane MacGowan contributes the beautiful "Infinity" and the excellent intrumental "Squid Out of Water." The Pogues reunited with the Dubliners to record "Whiskey In the Jar" and probably the best bonus cut goes to The Pogues/Dubliner's duet of "Jack's Heroes." Also the 1991 version of "A Rainy Night In Soho," is on here as well. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMore relaxed but still the pogues., February 3, 2005 \nBy Peter B. Moore "Peterm2424" (usa)\nAlthough many Pogues fans slam this album, I think it still holds up. It is more relaxed and lyrically set apart form the earlier Pogues album. Shane went to Thailand to "gather himself together" and was able to pull some great songs together before he left the Pogues for good. All the tracks with Shane are Great! You feel like they wrote the album on the beaches of Thailand dinking Singha beer. It flows better then Peace and Love, and though it lacks the intensity of the first 3 albums I find myself listening to this one just as much as the others. The beach boys instrumental intro on House of Gods is great! This album could only have been better with more Shane songs! \n\n\nAMAZON.COM CUSTOMER REVIEW\nNot their best, but 2 great bonus tracks, February 1, 2005 \nBy Flop (Boston)\nContrary to what the description says, Shane MacGowan is on this album, but only on about half the tracks. The following album, 'Waiting for Herb', is the first without Shane (and it's terrible). This album isn't great, but there are a few very good tracks on it. The addition of the bonus tracks 'Jack's Heroes' and 'Rainy Night in Soho' are worth the price alone (and bump my rating from 3 stars to 4). \n\n\nAMAZON.COM CUSTOMER REVIEW\nThe End is Near, July 11, 2004 \nBy MAGA (Lampasas, Texas United States)\nThis was the last great Pogues album. After this release, Shane would leave and what was the Pogues died. They would release two horrible albums without Shane, but everybody knew they were not real Pogues albums. However, there is no need to be angry at anybody. Shane wanted out of the band and was always drunk. The rest of the boys wanted a stable career. They could not continue the way they were going. When I listen to this album, I hear Shane becoming less involved. The band started to psh more towards a softer, Irish commerical sound. Not a bad sound, just not the rocking insanity of earlier recordings. You still have brilliant songs (primarily Shane's songs), but the album is still kind of tame. However, it is still great stuff and the last album of a legendary band, so props to the boys. \n\n\nAMAZON.COM CUSTOMER REVIEW\nEnd of the Pogues, February 20, 2004 \nReviewer: A music fan\nThis was the last Pogues album to feature the singing and songwriting talents of Shane MacGowan- and if you ask me that makes this the LAST Pogues album. As much I would like to say that the Pogues and MacGowan went out with a bang on their last album together, it just isn't true. "Hell's Ditch" is the weakest of the band's five studio albums.\n\nThere is no question that by 1990 MacGowan's alcohol and drug problems (the man's a junkie!) had taken their awful toll on his abilities. His voice on "Hell's Ditch" is no longer the boozy growl of previous efforts but an almost unintelligible mumble. I won't say that his songwriting talents had fully abandoned him- "On Sunnyside on the Street" and "Summer in Siam" are very, very good. However, this album continues the trend started with "Peace & Love"- a good part of the CD features songs written and sung by other members of the band with mixed results. "Hell's Ditch" has a lot of weak filler songs in comparison to previous Pogues albums.\n\nThis was the end of the road for the Pogues. "Hell's Ditch" was released in 1990 and the next year MacGowan would be fired by the band on the eve of its U.S. tour. (In September 1991, I would see the Shane-less Pogues perform at NYC's Beacon Theater with Joe Strummer (who produced "Hell's Ditch") filling in as lead singer.) Without question the Pogues were one of the most exciting and unique groups to emerge during the 80's- a raucous blend of Irish folk and British punk. So in comparison to the vast majority of the music being produced in 1990 (Milli Vanilli and Vanilla Ice were chart toppers at the time) Hell's Ditch is a fantastic CD, but when compared to previous Pogues' efforts it doesn't entirely measure up. \n\n\nAMAZON.COM CUSTOMER REVIEW\nToo Conventional For This Once Highly Original Band, January 20, 2004 \nBy R. Woollen "rwool620" (Charlotte, NC USA)\n\nThis is only the second album I've listened to from The Pogues. The first was Rum, Sodomy and the Lash, an album that is overlooked amidst other great punk albums. The album did not have the punk sound, to be truthful, but it had all the attitude and more originality. This is an album that just makes you think of smoky Irish pubs with the completely drunk band playing to the equally drunk crowd. RS&L is just a fun album, plain and simple.\nSkip forward about five or six years and they come out with Hell's Ditch. In comes more guitarwork and mellowness; out goes the attitude and the originality. Nothing on this album lives up to the pure rollicking greatness of RS&L and that is the problem with Hell's Ditch. There are good songs, few though, but no great ones. Every song has the same tempo, the same mellowed-out vibe, the same mediocrity, whereas every song on RS&L was its own perfect entity that when put into a package with the other songs is made even better. There are no real fast songs along the lines of 'The Sick Bed of Chuchulainn' or 'Sally Maclennane' and there are no great slow songs like 'Pair of Brown Eyes' or 'The Band Played Waltzing Matilda.' Forgive me if I'm speaking in relative terms between two albums but to me, Hell's Ditch is a very flawed album.\n\nThe first three songs are probably the best the album offers. 'Sunnyside of the Street' is just a little catchy number that utilizes The Pogues' tinwhistle to success. 'Sayonara' is the album's best song for its up and down beat and interesting lyrics. 'Ghost of a Smile' is one of the better real melodic songs. Still, none of these songs live up to anything off RS&L. The problem here is that The Pogues have proved before that they can be great, original, fun, perfect. They've already made the point that they can be all these things, but they have here ditched that greatness here for conventionality.\n\nMaybe some of this has to do with producers. RS&L was produced by Elvis Costello; Hell's Ditch was produced by Joe Strummer of The Clash. Don't get me wrong here. The Clash's London Calling is one of the greatest albums ever made, hands down, and we have Joe Strummer to thank for that. However, Elvis Costello charged RS&L with the kind of low-key production that fit the band's messy Celtic punk. Strummer has made this album with greater production values, and in some way that takes away from their punk sensibility (a somehow paradoxic sentence as The Clash could be the greatest punk band to walk this earth) and their passion for old Irish music, the very thing perhaps that made RS&L so original. Take away the punk leanings and the Celtic spirit and The Pogues are just another poppy band, one with a few more members than others.\n\nSo this is what I say to any potential listeners: Absolutely get Rum, Sodomy and the Lash, an album that truly pushes the boundaries of punk music. Hell's Ditch is a different story altogether, a tone-down mellow bore. The Pogues should be about fun, not over-produced melody. \n\n\nHalf.com Details \nProducer: Joe Strummer \n\nAlbum Notes\nThe Pogues: Shane MacGowan (vocals); Philip Chevron (guitar); Jem Finer (banjo); Terry Woods (mandolin); Spider Stacy (whistle); James Fearnley (accordion); Darryl Hunt (bass guitar); Andrew Ranken (drums).
This rock cd contains 20 tracks and runs 64min 48sec.
Freedb: 0e0f2e14
Buy: from Amazon.com

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