The Pogues on record are never short of inspirational, and in person, they might be a life-changing experience. This hackle-raising blend of traditional Irish folk music, politically charged broadsides and electric rock ‘n’ roll, delivered by charismatic frontman Shane MacGowan flanked by a grizzled band of veterans that includes penny-whistle virtuoso/alternate vocalist Spider Stacy, was formed in the King’s Cross district of north London in 1982. Despite occasional time off for good behavior, they’ve been playing ever since and have a handful of festival dates planned for this summer. Here’s hoping it lasts for at least another 10 years. We are proud to say that Stacy, who is currently appearing as a street musician in season two of HBO’s Treme, will be guest editing magnetmagazine.com all week. Read our new Q&A with him.
Stacy: If the natural order of things were to truly assert itself then this post would be entirely redundant. San Antonio’s Girl In A Coma would be on a level with the Foo Fighters of this world. So give them a support slot, you beardy bastards (not you Chris; I know you’re like me and can’t actually grow one), and I’d be able to brag about how one of the biggest bands in the world had opened for us over two nights in Chicago in 2007. Someone had sent us their record to suggest them as the support for these shows and noticed from the accompanying biog that my good friend Boz Boorer (occasional Polecat, Morrissey’s long-term MD and the Godfather of British neo-rockabilly) had worked with the band. So I phoned Boz and spoke to his wife, Lyn, who I’ve also known for years and had been the bass player in the fabulous Shillelagh Sisters, an all-girl (plus Boz on guitar) rockabilly combo who the Pogues played with many times when we were starting out. It turned out that the girls had flown to London, stayed at the Boorers’ gaff and recorded some demos with Bozzer (a sound move given the Smiths connection), that they had been a joy to have around and that we’d be mad not to choose them. I realised then that I hadn’t, in fact, listened to the album. I did, and that clinched it.
Joan Jett signed the band to Blackheart in person after catching a show in New York. Both Before I’m Gone (2007) is one of those great debuts, snarling sweetly and full of the awareness of its own potential. The follow-up, Trio B.C., is really too good a record to try and describe. Subtler, with a pop sensibility married to a latent, bruising power dominated by Nina Diaz’s extraordinary, bilingual vocals: beautiful and clear, with a swagger and tenderness that is completely distinctive and unique. Shane once made a spectacularly ill-judged attempt to hit on her after one the Chicago shows. I honestly don’t know what he was thinking: She dismissed him with a haughtiness and disdain that was worthy of a marquesa in the court of 16th-century Castile dealing with some over-familiar, importunate knightling from the provinces.
Back in October 2010, GIAC released Adventures In Coverland, a collection of some the band’s favourite songs. Among the usual start-to-finish absolute standouts, I have to give a special nod to their vintage, punk-rock version of “Femme Fatale” but also to a perfectly realised take on Buffalo Springfield’s “For What It’s Worth,” resonant with passion and prescience.
Girl In A Coma are currently working with Austin-based producer Mike McCarthy on their next album, hopefully due for release in the fall. Time can pass so slowly at times.
