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  • CD (18 avril 2005)
  • Nombre de disques: 1
  • Format : CD, Enregistrement original remasterisé
  • Label: Warner Strategic Marketing
  • ASIN : B0006957RQ
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
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Descriptions du produit

Reedición con sonido remasterizado del álbum editado originalmente en 1984.

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24 internautes sur 25 ont trouvé ce commentaire utile 
On The 1st Day of March 22 janvier 2005
Par K. H. Orton - Publié sur Amazon.com
Format: CD Achat vérifié
Oft overshadowed by the glories of Rum, Sodomy & Fall From Grace, the Pogues' debut captures the band at their most gritty and raucous. With originals like "Streams Of Whiskey" & "Dark Steets of London", frontman Shane MacGowan not only established himself as a formidable songwriter but a man with a mission: to bring Irish Music kicking & screaming into the 20th Century. As for traditionals, they didn't tip their hat & pay their respects so much as assault--whipping any sense of nostalgia into a pulp to get to the heart of the song.

I'd say their version of "The Auld Triangle" remains definitive, leaving the Clancy Brothers choking in the dust. The same goes for "Kitty". Its beauty offset even more by the reckless abandon that surrounds it.

Lyrically & musically, MacGowan was on the top of his game. And would remain so for 2 more albums. "Boys From Country Hell" remains one of my all time favorites. The same goes for "Down In The Ground". Instrumentals like "Repeal" go to show that the rest of the band were no joke.

To put it into perspective, this just about blew away everything else I was listening to in the 80's. It made my Smiths records cower in fear. They bee-yatch slapped REM. Justly gave the finger to Goth acts like Bauhaus & The Cure while being more death obsessed than either. If they had a showdown with post London Calling Clash, The Pogues would have outdrew them at the time of this release. It was a breath of fresh, foul air.

Far from a novelty act, they had a knack for making old songs sound new & new ones old. Listening to it again some 19 years later, Red Roses still doesn't sound dated. Truely the sound of a bunch of drunken pirates setting their ship on fire. Their pistol blarin' best next to RUM SODOMY & THE LASH. After that, they FELL FROM GRACE & PEACE & LOVE dumped them off into HELL'S DITCH. From which they never recovered.
14 internautes sur 14 ont trouvé ce commentaire utile 
Early Sound of the Pogues 18 août 2003
Par Un client - Publié sur Amazon.com
Format: CD
As others have mentioned, Shane MacGowan and couple other of the founding members of the Pogues were veterans of the British punk scene of the late 70's. In the early 80's, the Pogues got their start in the pubs around London as a sort of novelty act by playing old Irish folk tunes with a punk attitude: fast, loud, and obnoxious. A novelty act the Pogues would have remained if it had not been for two key elements: the abilty of Shane MacGowan's boozy growl of a singing voice to put on edge on even the most mundane lyric and even more importantly was his ability to write some of the finest songs of his generation. In time, MacGowan's talents as a singer/songwriter would turn the Pogues from a crude pub band into one of the most exciting and unique groups of the 80's.
In their first studio album, "Red Roses for Me," one can hear the early sound of the Pogues' as they make their first toddling steps towards greatness. Unfortunately, the musicianship is not exactly of the highest quality and sound of the entire CD is raw. Overall, the Pogues' sound on this CD is that of a band that had just recently been playing for beer money in some dive. But, hey, we're dealing with ex-punks here! The Pogues would eventually acquire a better guitarist and bassist and their sound would be polished by more accomplished producers. Although "Red Roses for Me" shows a band that needs to improve musically, there is one element present here that showed that it had definite promise: MacGowan's songwriting. Although the album does contain a number of covers of old folk tunes, it's MacGowan's songs that jump out at the listener: "Boys from the County Hell," "Streams of Whiskey," and "Transmetropolitan."
I would recommend this album to people who are already familiar with the Pogues and want to see how they sounded at the start of their career. However, for someone looking for just one Pogues CD then I would rank this album way below "If I Should Fall from Grace with God" and "Rum Sodomy and the Lash" Also, I would be hesitant to recommend it over "Peace and Love" or "Hell's Ditch." I mainly gave it four stars because it's the Pogues and for the importance of hearing the raw early version of this great band for die hard fans.
15 internautes sur 16 ont trouvé ce commentaire utile 
I'll have a pint with you sir! 26 novembre 2006
Par Poor Napoleon - Publié sur Amazon.com
Format: CD
Red Roses for Me was the first Pogues album I bought. It was a used import CD and the quality was horrible. The songs were great, but the sound on the album left much to be desired, probably due to sourcing from a poor master. So for years, I was waiting for a remastered version of this excellent album. Here, Rhino delivers.

This album can now be heard in all its glory. It's still amazing to here Shane Macgowan's tracks sit beautifully among traditional Irish fare. Yet MacGowan has punk sensibilities peaking into his tracks, notably on Boys From the County Hell. It's here that we get to see how good a songwriter Shane can be on the Dark Streets of London, where's he shows some of the emotional depth he's capable of. Others might be surprised to find the lovely original Streams of Whiskey, which makes a great pub song.

But the band comes together to create a great welcoming sound that both pays tribute to Irish music while breathing new life into traditional classics. Waxie's Dargle shows how much fun the band can have, which sounds like two Irish lads having a few pints, as they describe in the song. It's a lot of fun.

The bonus on this reissues is of course the quality. There are also a handful of extra tracks. The Pogues shine on a few more traditional songs while instroducing us to their rendition of Eric Bogle's And the Band Played Waltzing Matilda. This version is good, but pales in comparrison to the powerful version on Rum, Sodomy, and the Lash.

There are no misses on this album. A lot of people feel the Pogues magic wasn't fully realized until their followup album, but this album has the band sounding fresh and raw. Hearing this for the first time was a lot of magic for me as this is where I disocvered the Pogues, so I maybe a little biased, but this is close to their best.
9 internautes sur 10 ont trouvé ce commentaire utile 
Par Love Thy.Enemy - Publié sur Amazon.com
Format: CD
I moved from one double wide to another one across the street and never got to opening all of my literature boxes, until late at night a wee leprachaun, no wait, it was the voice of Shane MacGowan or whatever croaking about the Leaving of Liverpool and forcing me to open up all these boxes and put everything away and find me once again to hold you in your lonesome exile.

Not only do you get two great old tunes made big by Tommy Makem and the Clancy Brothers, here done rowdy like they ought, but you get That Auld Triangle, about back when the British Empire controlled their surplus Irish colonial population under the blessing of that devil Malthus by stealing all of their food and claiming famine (there was plenty of food in Ireland at that time all going to London), or transporting everyone to Australia and the penal colonies, or jailing all the men for ridiculous charges like wearing green or refusing to get evicted from their own lands and homes as if they were Palestinians.

But do not get me started. Listen over and over to the Auld Triangle.
And cheer up with the Leaving of Liverpool, especially that wild shout after One More Time is called. This is music, man. Hear it now.

And of course Down underground deserves to be heard a few times, although the creepy sound effects grow wearisome.

And then play the Clancy Brother songs and remember the tears of your old dad. I just wish A Parting Glass was on this collection so I didn't have to pull out the other disk! I guess that's what some folks use their iPod for, but hey . . .

A great comfort in exile or any time. What else has been recorded this late; what else is there to listen to? Def Leperd? Dear god!

That Auld Triangle is calling me even now.

I met Spider while filming ALex Cox's Walker in NIcaragua twenty years ago, and did not realize then who he was. Otherwise I'd have begged him to play that Triangle on the tin whistle he ever carried with him, and one which he shines so clearly and truly on this album.

By the way, the title comes from Dublin playwright Sean O'Casey. Check him out, too.
9 internautes sur 10 ont trouvé ce commentaire utile 
A brilliant explosion 21 février 2006
Par Lozarithm - Publié sur Amazon.com
Format: CD
Sometimes things seem to connect with a past they don't actually belong to, but perhaps should have. Desiderata might seem to have been the work of a seventeenth century monk, but we now know it to have been written by a lawyer in 1927. The Ploughman's Lunch conjures visions of medieval farmworkers relaxing from their heavy toil over a wholesome refreshment, but was apparently conjured up by the English Country Cheese Council in 1960.

Red Roses For Me, with its organic marriage of Shane MacGowan's brilliant compositions and rowdy performances of traditional Irish drinking songs and rebel balladry, played on predominantly acoustic instruments, seems to embody hundreds of years of Ireland's musical history, but nobody has managed to come up with any recorded precedents.

The former Shane O'Hooligan is the first to acknowledge his debt to such as the poets Brendan Behan and James Clarence Mangan, and musically to the Dubliners. However great they were, however, no Dubliners record could be mistaken for one by the Pogues, unless the Pogues were playing on it.

This astounding debut appeared fully-formed and gloriously unique, preceded only by their single Dark Streets Of London (in a slightly different version to that on the album), its surface shambolics belying a solid musical and lyrical depth and maturity. Red Roses For Me was produced by Stan Brennan, who ran Rocks Off Records in West One, where Shane sometimes served behind the counter. It was his long term mission to get the band off the ground, and he managed to pour the Pogue magic, unspilled and distilled, into the flagon at Wapping's tiny Elephant Studios.

The Anglo Celtic sound of the Pogues, fermented in London's glamorous King's Cross, is a mixture of pub and punk, both Shane and Mancunian Maestro Jimmy Fearnley having been veterans of punk band the Nips (formerly the Nipple Erectors), but played with an exuberance and an excellence that proved impossible to resist, despite the dark rising tide of New Romanticism, except by an old guard who thought the Pogues represented the stereotype of the drunken Irish paddy they were trying to escape. To be fair, it is rumoured that Shane likes a drink.

The album is embellished with six vital bonus tracks. And The Band Played Waltzing Matilda, Eric Bogle's chilling account of Gallipoli, was revisited on Rum, Sodomy And The Lash, but this is the original flipside of their debut single. You may know the song by Eric Bogle or June Tabor, but not like this. Repeal Of The Licensing Laws was the B-side of the (cleaned-up) Boys From The County Hell. The band returned to Elephant in 1985 to record the B-sides Whiskey You're The Devil and Muirshin Durkin, both for the single A Pair Of Brown Eyes, and The Wild Rover and The Leaving Of Liverpool backed up Sally MacLennane. Those last two A-sides are from Rum, Sodomy And The Lash, your next essential Pogues acquisition after this one.
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