The Pogues - Hell´s Ditch (WEA Records 9031-72554-1) (EU 1990, 1st Press, Vinyl 24-96)

The Pogues - Hell´s Ditch (WEA Records 9031-72554-1)
(EU 1990, 1st Press, Vinyl 24-96)
2009 | FLAC | NO LOG & CUE | Artwork | 24Bit/96kHz: 853 MB

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Info:

Pogues, The - Hell's Ditch

Label: WEA Records Ltd.
Catalog#: 9031-72554-1
Format: Vinyl, LP, Album
Country: Europe
Released: 1990
Genre: Rock
Style: Folk Rock

Tracklisting:
A1 The Sunnyside Of The Street
A2 Sayonara
A3 The Ghost Of A Smile
A4 Hell's Ditch
A5 Lorca's Novena
A6 Summer In Siam

B1 Rain Street
B2 Rainbow Man
B3 The Wake Of The Medusa
B4 House Of The Gods
B5 5 Green Queens And Jean
B6 Maidrín Rua
B7 Six To Go


Review by Mark Deming

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. allmusicguide


Technical Information:

Washed LP>
AT120E>
Dual CS 505-3>
Kenwood C1>
Gold platted Cable>
Edirol R09HR @ 24/96>
Sandisc Extreme III SDHC Card>
HDD

Recorded and splitted with Wavelab 5
Minor restoration with WavePurity Professional

No gaps have been deleted (added to previous song), so please burn gapless!

Band Info:

The Pogues are a band of mixed Irish and English background, playing traditional Irish music with influences from punk rock and jazz, formed in 1982 and fronted by Shane MacGowan. They reached international prominence in the 1980s and early 1990s, until MacGowan left the band in 1991 due to drinking problems. They continued with first Joe Strummer and then Spider Stacy on vocals before breaking up in 1996.[1] The band began performing together again in 2001, though they have yet to record new music.

Their politically-tinged music was influenced by The Clash,[2] yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin, accordion, and others. In the later incarnations of the band, after the departure of Shane MacGowan, rock instruments such as the electric guitar would become more prominent. The first of The Pogues' albums, Red Roses for Me, borrows much from the punk tradition of MacGowan's previous band The Nipple Erectors (later dubbed "The Nips").

The Pogues were founded in King's Cross,[3] a district of North London, in 1982 as Pogue Mahone—pogue mahone being the Anglicisation of the Irish póg mo thóin, meaning "kiss my arse".[4]

The band specialised in Irish folk music, often playing with the energy of the punk rock scene in which several of the members had their roots.

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