Learn more Download now Shop now Shop now Shop now Shop now Shop now Shop now Shop now Shop now Learn More Shop now Learn more Shop Fire Shop Kindle Amazon Music Unlimited for Family Learn more Shop now Learn more

on 3 November 2017
A comprehensive colllection
0Comment|Was this review helpful to you? Report abuse
on 26 February 2017
Really rather over-hyped. Shane is prominent in his absence here.
0Comment|Was this review helpful to you? Report abuse
on 7 November 2015
great album
0Comment|Was this review helpful to you? Report abuse
on 13 September 2015
Brilliant. Thankyou.
0Comment|Was this review helpful to you? Report abuse
on 2 December 2016
great album fast delivery, thanks!
0Comment|Was this review helpful to you? Report abuse
Set against the refreshing & colourful musical landscape painted by the first three albums, The Pogues' 1989 follow-up to career-highlight `If I should fall from Grace with God' is a lacklustre affair. There is scant evidence here of real fire-in-the-belly, or the riotous energy of the band's earlier output. The reason usually cited is McGowan's increasingly erratic behaviour, often so drunk/hung-over he would fail to turn up for performances or recording sessions.

The album does however contain some OK tunes. `White City' & `Misty Morning Albert Bridge' (penned by Jem Finer) are elegies to London neighbourhoods (some people erroneously believe the Pogues to be an Irish band; in fact they were quintessentially a London punk band with some Irish connections), and the catchy calypso-like `Blue Heaven' redolent of `Fiesta' on IIsffGwG. Philip Chevron, Terry Woods and Daryl Hunt all variously step up to the plate and share the writing/singing duties part-vacated by Shane's decline into non-productivity.

The band had a brief revival of form on the subsequent `Hell's Ditch' but unfortunately `Peace & Love' remains a low-point of the McGowan years.
0Comment| One person found this helpful. Was this review helpful to you? Report abuse
on 7 March 2005
In many ways this is most curious Pogues album, not least because the majority of the tracks are offering from other members of the band rather than the up until then main songwriter and lead singer, Shane MacGowan. In fact most of the tracks from the other guys are also sung by them, making this one of the least MacGowan influenced album at all.
There's still some MacGowan gems on the album though, "London you're a Lady" is a lovely sentimental traditional sounding tune, "Boat Train" is a Pogues-sounding classic of drunken punk-folk and both "White City" and "Cotton Fields" are solid tuneful tracks that would slot nicely on any Pogues album. MacGowan's singing, never the clearest and always benefiting from the gravely-slur seems to have lost all control at times and it can be relief to move onto a track sung by one of the others.
Terry Woods weighs in with two traditional sounding songs, the jig of "Gartloney Rats" and "Young Ned of the Hill", a protest song 400 years too late, but still a brilliant song. Phillip Chevron also has two tracks on the album, the almost calypso sounding "Blue Heaven" (co-written with Darryl Hunt) and the gorgeous "Lorelei" a guitar driven rock song of the highest quality.
Finally there's Jem Finer, who contributes four songs to the album, "Gridlock" with Andrew Rankin, a drum fuelled jazz introduction to the album, the maudlin "Tombstone" and the dark Arabic sounding "Night Train to Lorca". His final track "Misty Morning, Albert Bridge" is probably the stand out track on the whole album, which is just an unashamedly beautiful love song.
0Comment| 2 people found this helpful. Was this review helpful to you? Report abuse
on 23 March 2004
The Pogues were never just the quintessential Irish emigrant pub band. The drunken slurrings of Shane MacGowan disguise one of the finest songwriting talents of the late 20th century. For his last album with the band that made him infamous, he has the good grace to share the limelight with his bandmates (and let's face it, any band that produces this many talented songwriters has to be worthy of respect!). The album lacks the rawness of predecessors "Rum, Sodomy and the Lash" and "If I Should Fall from Grace with God" - in fact the best songs here are provided by other band members, particularly noteworthy being Philip Chevron's gorgeous "Lorelei" (with the late Kirsty MacColl on backing vocals) and Terry Woods' historical protest rant "Young Ned of the Hill", which says everything there really is to be said about Oliver Cromwell... But for all that, the band is in secure territory here: leftfield drinking songs, laments for days gone by, an occasional burst of political invective, and lots of gorgeous acoustic instrumentation underpinned by the rumble of rhythm guitars. Maybe not quite as exciting as IISFFGWG, but hard to fault.
0Comment| One person found this helpful. Was this review helpful to you? Report abuse
Things were not going well on Planet Pogue before the release of `Peace and Love'. The Success of their previous album meant they had been asked to open on Bob Dylan's tour, a very highly regarded accolade for any band, but generally not given to bands whose singer absconds on the eve of the tour. The only output between the two albums was the single `Yeah, Yeah, Yeah, Yeah, Yeah' the title of which alone would suggest MacGowan was not writing as he had been on the previous trilogy of albums where he hadn't put a foot wrong.

Of the six MacGowan originals on the album, one of which is an instrumental, seems so suggest writers block of staggering proportions. `White City' is possibly the greatest MacGowan composition on the album and was a logical choice for a single. `London You're a Lady', `USA' and `Boat Train' are enjoyable MacGowan romps but cover themes explored previously with greater success. `Down All the Days' and `Cotton Fields' are a bit Pogues by numbers and I imagine MacGowan can barely remember writing them. I know I can hardly member hearing them.

The remainder of the album is made up by writing contributions by the other members of the band and would have made for a reasonable album but not a reasonable Pogues album, it could only be a poor Pogues album.

Terry Woods songs have a authentic Irish Folk voice but that does not necessarily make for good listening and this shows on `Young Ned of the Hill' and `Gartoney Rats'. Philip Chevron is by now writing pop songs which are enjoyable enough but both `Blue Heaven' and `Lorelei' jar against the remainder of the album.

The only other writer is Jem Finer who would previously collaborate with MacGowan and has certainly learnt how to write in his style. `Misty Morning, Albert Bridge' is certainly more MacGowan than the MacGowan compositions on this album and was worthy as its selection as a single. `Night Train to Lorca' and `Tombstone' possibly lower his average slightly.

All in all the worst Pogues album made with MacGowan on board. As MacGowan said of his audience in his biography `A Drink with Shane MacGowan' `I think they put up with the crap, so they could hear the good stuff', spot on.
0Comment| 5 people found this helpful. Was this review helpful to you? Report abuse
on 14 April 2014
Not a proper album to me just bits and bats shoved together that mean nothing to each other . The title peace and love well not really . Some decent offeringings from band members but not enough to count for anything ?
0Comment|Was this review helpful to you? Report abuse

Sponsored Links

  (What is this?)