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Product details
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Track Listings
| 1. Fisherman's Blues |
| 2. We Will Not Be Lovers |
| 3. Strange Boat |
| 4. World Party |
| 5. Sweet Thing/Blackbird |
| 6. Jimmy Hickey's Waltz |
| 7. And A Bang On The Ear |
| 8. Has Anybody Here Seen Hank |
| 9. When Will We Be Married |
| 10. When Ye Go Away |
| 11. Dunford's Fancy |
| 12. Stolen Child |
| 13. This Land Is Your Land |
Product Description
Amazon.co.uk Review
When The Waterboys' Irish violinist Steve Wickham suggested to Mike Scott that Spiddal was a great place to get away from it all, no-one could have guessed how Scott would take his advice to heart. Within less than a year The Waterboys were transformed from stadium rock incumbents to adopted Irish folk-rockers. Fisherman's Blues is the entrancing outcome of that transition. If the family snapshot on the cover is to be taken at face value, one might imagine this to be an idyllic time in The Waterboys career. In truth, the sessions were painstaking, with Scott discarding over 50 songs over a two-year process. What remains though, is a classic of its time: from the yearning euphoria of the title track to otherworldly beauty of "When Ye Go Away", lent cohesion by the singularity of Scott's vision. For sheer inspiration and flow, precedents begin and end at Van Morrison's Astral Weeks--a doubly appropriate comparison, this, given Scott's superlative reading of Morrison's "Sweet Thing". --Peter Paphides
Description
On their early albums, the Waterboys became known as practitioners of "the Big Sound", an epic, wide-screen musical vision on a par with the contemporaneous offerings of U2 and Big Country, making them the musical equivalents of Cecil B. DeMille. For FISHERMAN'S BLUES, though, they decided to scalethings down considerably, departing for a little while fromtheir outsized pop/rock ambitions to embrace Celtic roots, folk, and heavily Dylan-influenced, BLOOD ON THE TRACKS-likefolk-rock. The gambit paid off better than anyone could have expected, resulting in one of the band's most memorable, moving albums.
Singer Mike Scott emerges here as a gifted troubadour, a mode he'd explore more fully years later in his solo work. Where he once spun grand statements framed by booming drums and echoing guitars, here he makes simple romantic observations backed by fiddles and acoustic guitars. A surprising nod to country roots pops up as well, with "Has Anybody Here Seen Hank?", but, in the end, FISHERMAN'S BLUES is closer to the Celtic soul of prime Van Morrison (whose "Sweet Thing" is covered here) than it is to either the band's rootsier influences or to any 1980s contemporaries.
When The Waterboys' Irish violinist Steve Wickham suggested to Mike Scott that Spiddal was a great place to get away from it all, no-one could have guessed how Scott would take his advice to heart. Within less than a year The Waterboys were transformed from stadium rock incumbents to adopted Irish folk-rockers. Fisherman's Blues is the entrancing outcome of that transition. If the family snapshot on the cover is to be taken at face value, one might imagine this to be an idyllic time in The Waterboys career. In truth, the sessions were painstaking, with Scott discarding over 50 songs over a two-year process. What remains though, is a classic of its time: from the yearning euphoria of the title track to otherworldly beauty of "When Ye Go Away", lent cohesion by the singularity of Scott's vision. For sheer inspiration and flow, precedents begin and end at Van Morrison's Astral Weeks--a doubly appropriate comparison, this, given Scott's superlative reading of Morrison's "Sweet Thing". --Peter Paphides
Description
On their early albums, the Waterboys became known as practitioners of "the Big Sound", an epic, wide-screen musical vision on a par with the contemporaneous offerings of U2 and Big Country, making them the musical equivalents of Cecil B. DeMille. For FISHERMAN'S BLUES, though, they decided to scalethings down considerably, departing for a little while fromtheir outsized pop/rock ambitions to embrace Celtic roots, folk, and heavily Dylan-influenced, BLOOD ON THE TRACKS-likefolk-rock. The gambit paid off better than anyone could have expected, resulting in one of the band's most memorable, moving albums.
Singer Mike Scott emerges here as a gifted troubadour, a mode he'd explore more fully years later in his solo work. Where he once spun grand statements framed by booming drums and echoing guitars, here he makes simple romantic observations backed by fiddles and acoustic guitars. A surprising nod to country roots pops up as well, with "Has Anybody Here Seen Hank?", but, in the end, FISHERMAN'S BLUES is closer to the Celtic soul of prime Van Morrison (whose "Sweet Thing" is covered here) than it is to either the band's rootsier influences or to any 1980s contemporaries.
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