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Peace And Love (Remastered / Expanded) Original recording remastered


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Peace And Love (Remastered / Expanded) + Red Roses For Me (Vinyl LP) + Hell's Ditch (Vinyl LP)
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Product Details

  • Audio CD (March 1 2012)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Rhino-Atlantic
  • ASIN: B000H8SFMU
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: #55,536 in Music (See Top 100 in Music)

1. Gridlock
2. White City
3. Young Ned Of The Hill
4. Misty Morning, Albert Bridge
5. Cotton Fields
6. Blue Heaven
7. Down All The Days
8. USA
9. Lorelei
10. Gartloney Rats
11. Boat Train
12. Tombstone
13. Night Train To Lorca
14. London You're A Lady
15. Star Of The County Down
16. The Limerick Rake
17. Train Of Love
18. Everyman Is A King
19. Yeah Yeah Yeah Yeah Yeah
20. Honky Tonk Women

Product Description

Product Description

1989's Peace & Love was produced by Steve Lillywhite, marked other band members' musically coming to the fore more often as MacGowan became increasingly volatile. Standout tracks include 'Gridlock', 'Blue heaven', MacGowan's superb 'White City' and the band's first CD single Misty Morning, Albert Bridge'. Six pack of bonus tracks include the charting single Yeah Yeah Yeah Yeah Yeah', the traditional 'Star of The County Down', and the Pogues take on 'Honkey Tonk Women. Essay by Patrick McCabe, extensive liner notes by David Quantick.

Amazon.ca

The last great Pogues album, and the beginnings of the end of Shane MacGowan's association with the band. Much of Peace And Love is written and sung by the band's other members, and while this is no problem in itself--any of Phil Chevron, Terry Woods or Jem Finer could have carried a band by themselves--the album as a whole has the somewhat strained quality of people forcing themselves to have a good time despite everything. This is not to suggest MacGowan contributes nothing of interest. "White City", a lament to a demolished dog track, and "Down All The Days", a tribute to the writer Christy Brown, are both examples of everything MacGowan was good at: an economic and morbidly funny use of language, and an ability to wring new melodies from the most worn folk chord progressions. However, the real attractions here are turned in by MacGowan's long-suffering bandmates: Chevron's shimmering madman's lullabye "Lorelei" especially, a glorious and frustrating hint of a solo career that, disappointingly, has shown no sign of happening. --Andrew Mueller --This text refers to an out of print or unavailable edition of this title.


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Customer Reviews

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By Bob Mamrak on May 4 2012
Format: Audio CD
The Pogues seemed to be trying to expand their audience with Peace and Love through a fusion of various musical styles. One can make the argument that the fusion began with If I Should Fall from Grace with God, but with that release MacGowan was still in control and the album worked. Peace and Love was more like the Beatles' White Album in that several individual songwriters were recording their material in the way they wanted. The difference was that the Beatles had three gifted songwriters. The Pogues had one. On a good day, maybe one and a half.
MacGowan penned just six of the album's fourteen songs. Finer, Woods, Chevron, Rankin, and Hunt all contributed material. Part of the problem was that MacGowan was not part of the fusion process on the other Pogues' songs. Whereas MacGowan and Finer had co-written songs on previous albums, when Finer collaborated on Peace and Love it was with Andrew Rankin. Phil Chevron co-wrote one of the album's tracks with Daryl Hunt. Terry Woods collaborated with fellow Irishman Ron Kavana. "I couldn't play what I wanted," MacGowan said in an interview. "On the Pogues' best album, If I Should Fall From Grace with God, me and Jem wrote every note, apart from the traditional numbers which I arranged... but after that, things changed."
MacGowan's best songs on Peace and Love are probably "White City," "Down All the Days," "London You're a Lady," and "Boat Train." "Cotton Fields" and "USA," both written while the Pogues were touring America, do little to enhance Shane's reputation as a top songwriter. While both songs deal with the USA, neither touch on Irish immigration, a theme he handled so deftly on previous albums. Instead, he seems to focus on inner turmoil, perhaps brought on by dissatisfaction with the direction the Pogues were taking.
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Format: Audio CD
I listened to the Pogues when I was in college back in the late 80s; although I liked their CDs a lot, the explosion of World Music kinda dissuaded me from listening to them again for almost a decade.
I recently found "If I Should Fall from Grace with God" and "Hell's Ditch" and began to listen to them continuously for several weeks before I ordered "Peace and Love" from amazon, wanting to hear more of their stuff.
The Pogues really were a great band -- I'm not that much an afficinado to understand why McGowan left -- but I enjoy these 3 CDs for qualities which, to me, are absent in most of the music today: the diversity of their writing, the vibrancy of their musicanship, their gusto, and the emotional impact (like a bombshell) some of their best songs have. On this CD, I find myself drawn into their worlds with songs like "Gridlock", "Down All the Days", "Lorelei", "Cotton Fields" and "Blue Heaven".
"If I Should Fall from Grace with God" is probably their best album and one which would merit 4 **** stars from me -- but "Peace and Love" is up with 3.
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Format: Audio CD
The Pogues are still one of the only bands I've formes a personal relationship with (the kind whose songs pop into your head during important time sin your life) and this album is the third reason why, ranking just after "Rum..." and "...Grace with God" (both five star classics).
Here, a few bona-fide classics (USA, Down All the Days, Night Train to Lorca) are surrounded by some well-played but uninspired tracks that occasionally veer toward the insipid (My Blue Heaven, Cotton Fields).
Face it, The Pogues aren't exciting without Shane Mcgowan at the helm. Here, while they sound awful nice, the others that step to the mic seem to adopt a sort of pompous tone. I'll take drunken slobberiness before pomposity any day.
Whne McGowan uses his by now-deepening gurgle to good effect, in slow cadence, or in tandem with someone else, the band smokes. When he relinquishes it and passes out on the couch, the album loses steam (notable exception: Lorelei).
Still, certain powerful emotions (sadness, anger, fear, longing) are the themes that still drive what these guys were doing. When they pull it off, they created the best Irish-inflected-rock I've ever heard.
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By A Customer on Feb. 23 2000
Format: Audio CD
I never heard of this band until a friend recorded his CD of "Peace and Love" on tape and gave it to me. Being of Irish descent I fell in love with "Young Ned of the Hill," and then with the rest of the album. (It took me sometime to really appreciate MacGowan.) That was nearly ten years ago. I have since purchased virtually everyone of their albums, and I have seen The Pogues and Shane MacGowan perform live.
I have a fondness for "Peace and Love" because it was the first album of The Pogues that I heard, and reminds me of my days at my Bronx, NY university. But I do not believe it is one of their better efforts: MacGowan's voice was really going downhill and a large part of the album was written by other members of the band with mixed results. "White City" and "Misty Morning Albert Bridge" are classics, "Lorlelei" is sublime, and "Young Ned of the Hill" still remains one of my personal favorites; but the rest is just ok.
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By B. Fanciulli on April 16 2004
Format: Audio CD
A huge fan of MacGowan and the Pogues' "Red Roses for Me" and "If I Should Fall From the Grace of God," I am horribly disappointed with this album. It begins with a completely out of place swing jazz song, that, when you listen for the first time, will make you think the manufacturer accidentally mispackaged a Big Bad Voodoo Daddy album; though, quite an original intro for an 80's pop folk album. A few tunes resemble the Pogues of albums past (tracks 2, 10 & 11), but they lack the energy and conviction. The rest of the album is, as the title infers, complete hippie-inspired garbage only comparable to the worst of the Grateful Dead.
The production is quite different from what you may expect as well, with the trademark banjo, cheerful flute, and MacGowan's vocals are toned down or nonexistent on most tracks.
If you love early Pogues, do yourself a favor and avoid this one.
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