Peace and Love

Editorial Reviews

All Music Guide - Mark Deming
Shane MacGowan's potent appetite for alcohol was evident from the time the Pogues cut their first album, but by the time they got to work on Peace and Love in 1989, it was evident that he'd gone far past the point of enjoying a few pints or many pints and had sunk deep into drug and alcohol dependence. The Pogues were always far more than just MacGowan's backing band, but with the group's principal songwriter and lead singer frequently unable to rise to the occasion, the recording of Peace and Love became a trying experience, with the rest of the band often scrambling to take up the slack for their down-for-the-count frontman. Given the circumstances, the Pogues deliver ...
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Editorial Reviews

All Music Guide - Mark Deming
Shane MacGowan's potent appetite for alcohol was evident from the time the Pogues cut their first album, but by the time they got to work on Peace and Love in 1989, it was evident that he'd gone far past the point of enjoying a few pints or many pints and had sunk deep into drug and alcohol dependence. The Pogues were always far more than just MacGowan's backing band, but with the group's principal songwriter and lead singer frequently unable to rise to the occasion, the recording of Peace and Love became a trying experience, with the rest of the band often scrambling to take up the slack for their down-for-the-count frontman. Given the circumstances, the Pogues deliver with greater strength than one might expect on Peace and Love; while MacGowan's vocals are often mush-mouthed and his songwriting is markedly beneath his previous standards, Terry Woods contributes two terrific traditional-style numbers "Young Ned of the Hill" and "Gartloney Rats", Philip Chevron's "Lorelei" is a superb tale of lost love he and Darryl Hunt also teamed up for a fine bit of Celtic-calypso fusion on "Blue Heaven", and Jem Finer brought along a trio of strong originals. Musically, Peace and Love found the band stretching their boundaries, adding accents of film noir jazz on "Gridlock," rockabilly on "Cotton Fields," straight-ahead rock on "USA," and power pop on "Lorelei," though the group's highly recognizable Celtic-trad-on-steroids style is never far beneath the surface. Peace and Love isn't as good as the two Pogues albums that preceded it which represent the finest work of their career, but it does make clear that MacGowan was hardly the only talented songwriter in the band -- though the fact that the set's most memorable songs were written by others did not bode well for the group's future.
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Product Details

  • Release Date: 6/30/1998
  • Label: Warner Bros Uk
  • UPC: 022924608629
  • Catalog Number: 246086

Tracks

Disc 1
  1. 1 Gridlock (3:33)
  2. 2 White City (2:31)
  3. 3 Young Ned of the Hill (2:45)
  4. 4 Misty Morning, Albert Bridge (3:01)
  5. 5 Cotton Fields (2:51)
  6. 6 Blue Heaven (3:36)
  7. 7 Down All the Days (3:45)
  8. 8 USA (4:52)
  9. 9 Lorelei (3:33)
  10. 10 Gartloney Rats (2:32)
  11. 11 Boat Train (2:40)
  12. 12 Tombstone (2:57)
  13. 13 Night Train to Lorca (3:29)
  14. 14 London You're a Lady (2:56)
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Album Credits

Performance Credits
The Pogues Primary Artist
Kirsty MacColl Vocals
Albert Bridge Bass, Strings, Brass
Joe Cashman Tenor Saxophone
Philip Chevron Vocals, Group Member
Brian Clarke Alto Saxophone
James Fearnley Group Member
Jem Finer Group Member
Darryl Hunt Group Member
Gaspar Lawal Percussion
Shane MacGowan Group Member
Peadar Ó Riada Strings
Andrew Ranken Group Member
Spider Stacy Group Member
Eli Thompson Trumpet
Rick Trevan Tenor Saxophone
Terry Woods Group Member
Paul Taylor Trombone
Technical Credits
Ron Kavana Composer
The Pogues Arranger
Philip Chevron Composer
Chris Dickie Engineer
Steve Lillywhite Producer
Frank Murray Management
Peadar Ó Riada Arranger, String Arrangements
Fiachra Trench Arranger, String Arrangements, Brass Arrangment
Ryan Art Cover Design
Philip Hardaker Montage, Sleeve Notes
Paul Taylor Arranger, Brass Arrangment
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