Red Roses for Me [Bonus Tracks]

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Editorial Reviews

All Music Guide - Mark Deming
What set the Pogues apart from any number of other energetic Irish traditional bands was the sheer physical force of their performances, the punky swagger of their personalities, and Shane MacGowan's considerable gifts as a songwriter. Unfortunately, none of these qualities comes through very clearly on their first album, Red Roses for Me. While the Pogues are in good form here, the production (by Stan Brennan) is thin and lacks the body or nuance to capture the finer details of the performances, robbing this recording of the fire the group would display on their later albums. And it's clear that MacGowan had not yet fully matured as a songwriter; there are a handful of ...
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Editorial Reviews

All Music Guide - Mark Deming
What set the Pogues apart from any number of other energetic Irish traditional bands was the sheer physical force of their performances, the punky swagger of their personalities, and Shane MacGowan's considerable gifts as a songwriter. Unfortunately, none of these qualities comes through very clearly on their first album, Red Roses for Me. While the Pogues are in good form here, the production (by Stan Brennan) is thin and lacks the body or nuance to capture the finer details of the performances, robbing this recording of the fire the group would display on their later albums. And it's clear that MacGowan had not yet fully matured as a songwriter; there are a handful of superb songs here, such as "Transmetropolitan," "Streams of Whiskey," and "Down in the Ground Where the Dead Men Go," but some of the others suggest MacGowan was still learning how to fit all his ideas into his songs. Red Roses for Me is good and rowdy fun, but on Rum Sodomy & the Lash and If I Should Fall from Grace with God, the Pogues would prove they were capable of a lot more than that. [In 2006, Rhino Records gave Red Roses for Me a long-overdue reissue in the United States, with remastered audio, new liner notes (an enthusiastic appreciation from filmmaker Jim Jarmusch and a witty essay on the group's early days from Gavin Martin), and six bonus tracks. While "The Leaving of Liverpool" and "The Wild Rover" sound like quickly recorded demos and the version of "And the Band Played Waltzing Matilda" pales in comparison to the later recording on Rum Sodomy & the Lash, "Whiskey, You're the Devil" and "The Repeal of the Licensing Laws" kick up plenty of dust and would have added to the album's impact.]
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Product Details

  • Release Date: 9/19/2006
  • Label: Rhino
  • UPC: 081227407124
  • Catalog Number: 74071
  • Sales rank: 8,720

Album Credits

Performance Credits
The Pogues Primary Artist
James Fearnley Guitar
Jem Finer Banjo, Guitar, Group Member
Shane MacGowan Vocals, Group Member
Andrew Ranken Drums
Spider Stacy tin whistle, Group Member
Maestro Jimmy Fearnley Group Member
Rocky ORiordan Group Member
Andy The Clobberer Ranken Group Member
Technical Credits
Eric Bogle Composer
Elvis Costello Producer
The Pogues Arranger
Stan Brennan Producer, Audio Production
Philip Chevron Producer, Reissue Assistant
Jem Finer Arranger
Darryl Hunt Reissue Assistant, Photo Courtesy
Shane MacGowan Arranger, Composer
Nick Robbins Engineer, Mastering, Remastering
Spider Stacy Arranger, Composer, Reissue Assistant
Craig Thompson Engineer
Jim Jarmusch Liner Notes
Phil Smee CD Package Design
Eric James Reissue Assistant
Gavin Martin Liner Notes
Brendan Behan Composer
Rick Conrad Reissue Assistant
Traditional Composer
Carlos Anaia Reissue Assistant
Maestro Jimmy Fearnley Arranger
Rocky ORiordan Arranger
Andy The Clobberer Ranken Arranger
Steve Tynan Sleeve Photo, Original Photography
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    Posted July 31, 2009

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