Rum, Sodomy, And The Lash: Expanded & Remastered [Remaster] (CD - 1985)

RUM, SODOMY & THE LASH delivers on the brash promise of its predecessor, RED ROSES FOR ME, mixing the band's unique brand of traditional Irish instrumentation and composition with Shane MacGowan's timeless poetry. As the mythic introduction of the album's opener, "The Sickbed Of Cuchulainn" crashes into its heaving, breakneck-speed verse, RUM, SODOMY & THE LASH is a hurtling juggernaut of Celtic soul, fierce and unrelenting. Its lyrics are the very stuff of Irish song and story: cruelty, human suffering, poverty-- and more than a few whiskeys along the way.

Produced by none other than Elvis Costello (who here met his future wife, bassist Cait O'Riordan), this album boasts a feel that is close-up enough to be intimidating. Though on slower numbers such as O'Riordan's enchanting take on the traditional "I'm A Man You don't Meet Every Day," this closeness perfectly captures the vulnerability of both song and singer. With lyrical references to drug addiction, vagrancy and prostitution ("The Old Main Drag"), MacGowan touches on themes usually left out of the Clancy Brothers' songbook. This frank, realistic and ultimately reverent take on the Irish musical tradition lends the Pogues a refreshing modernity.

"I saw my task... was to capture them in their delapidated glory before some more professional producer f--ked them up," Elvis Costello wrote of his role behind the controls for the Pogues' second album, Rum Sodomy & the Lash. One spin of the album proves that Costello accomplished his mission; this album captures all the sweat, fire, and angry joy that was lost in the thin, disembodied recording of the band's debut, and the Pogues sound stronger and tighter without losing a bit of their edge in the process. Rum Sodomy & the Lash also found Shane MacGowan growing steadily as a songwriter; while the debut had its moments, the blazing and bitter roar of the opening track, "The Sick Bed Of Cuchulainn," made it clear MacGowan had fused the intelligent anger of punk and the sly storytelling of Irish folk as no one had before, and the rent boys' serenade of "The Old Main Drag" and the dazzling, drunken character sketch of "A Pair of Brown Eyes" proved there were plenty of directions where he could take his gifts. And like any good folk group, the Pogues also had a great ear for other people's songs. Bassist Cait O'Riordan's haunting performance of "I'm a Man You Don't Meet Every Day" is simply superb (it must have especially impressed Costello, who would later marry her), and while Shane MacGowan may not have written "Dirty Old Town" or "And the Band Played Waltzing Matilda," his wrought, emotionally compelling vocals made them his from then on. Rum Sodomy & the Lash falls just a bit short of being the Pogues best album, but was the first one to prove that they were a great band, and not just a great idea for a band. ~ Mark Deming minimize