Posts Tagged The Pogues

Counter Culture Peace Songlist 2

This second Peace Songlist gathers works that confront conflict from every angle: the soldier who came home broken, the one who never returned, the civilian who watched leaders march men into disaster, and the artist who refused to accept official narratives. Folk, punk, metal, and country all meet here with one shared purpose — to expose the human cost of war and the stories that survive long after the battles end.

THE SONGS

Broken Heroes – Saxon

A heavy‑metal lament for soldiers abandoned after conflict. Saxon confront the hypocrisy of governments that celebrate heroism but neglect the wounded and traumatised. Raw, direct, and unmistakably anti‑war.

Waist Deep in the Big Muddy – Pete Seeger

A Vietnam‑era parable about blind leadership. Seeger warns how obedience to authority can lead men into disaster, and how those in charge often insist everything is fine until it’s too late. Waist Deep in the Big Muddy is a parable about blind, authoritarian leadership—a captain who ignores warnings and leads his men into danger—used by Pete Seeger as a metaphor for Lyndon Johnson’s escalation of the Vietnam War. It’s about how nations get dragged into disaster when “the big fool says to push on.”

I Was Only Nineteen – Redgum

A stark, plainspoken account of the Vietnam war from an Australian perspective. Trauma, memory, and the long shadow of conflict are laid out without sentimentality, making it one of the most authentic anti‑war songs ever recorded.

Where Have All the Flowers Gone – Pete Seeger

A circular folk lament tracing the cycle of youth, war, and death. Its structure reinforces the idea that humanity keeps repeating the same mistakes, generation after generation.

And the Band Played Waltzing Matilda – The Pogues version

Shane MacGowan’s cracked, weary vocal adds a bruised edge to Bogle’s story. The Pogues turn the song into a bitter folk‑punk elegy for the forgotten wounded.

The Fighting 36th – Ruefrex

A Northern Irish punk track exposing the senselessness of violence and the emotional destruction it leaves behind. Its portrayal of conflict as dehumanising and pointless places it firmly in the anti‑war tradition.

What Is Truth – Johnny Cash

Cash challenges political hypocrisy and asks why society ignores young people who question war. A sharp, articulate protest song from the Vietnam era that still resonates.

I Don’t Believe in If Anymore – Roger Whittaker

A reflective critique of the comforting hypotheticals people use to rewrite the past. Whittaker rejects the idea that conflict can be justified by imagining different outcomes, even referencing “the one they call the foe” to highlight how societies manufacture enemies. Not a traditional anti‑war song, but a thoughtful challenge to fatalism and the narratives that sustain conflict, making it a fitting philosophical addition to the peace list. 

Writing and selections by Pat Harrington with contributions from the Counter Culture film discussion group.

Our Peace Song List 1 is here

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Songlist Special: Songs That Captured the Spirit of The Old Grey Whistle Test

A wander back through the smoke‑hazed studio lights of The Old Grey Whistle Test — the BBC’s great cathedral of musical seriousness. No gimmicks, no pyrotechnics, no forced smiles. Just musicianship, mood, and the quiet confidence of artists who knew that a single well‑placed note could say more than a stadium’s worth of lasers.

This week’s list gathers songs that embody the OGWT ethos: unvarnished, emotionally literate, and played with the kind of conviction that doesn’t need gloss to land its punch. These are tracks that reward close listening — songs built from grain, grit, melancholy, and the occasional flash of eccentric brilliance. The sort of music that feels like it’s happening in the room with you.


THE SONGS


The Pogues – Dirty Old Town

A song that feels like it was designed for the OGWT’s stripped‑back stage: no gloss, no pretence, just the raw grain of lived experience. MacGowan’s voice — cracked, human, defiant — turns the industrial melancholy of Ewan MacColl’s lyric into something both intimate and communal. It’s reportage set to melody, a reminder that folk‑punk at its best is a witness statement.


Al Stewart – Year of the Cat

Elegant, literate, and quietly cinematic. Stewart writes like a novelist who happens to have a guitar within reach. The arrangement unfurls like a long exhale — saxophone, piano, and narrative all blooming in slow, confident arcs. OGWT always made room for musicians who treated songwriting as storytelling, and this track remains one of the great examples.


Blondie – (I’m Always Touched by Your) Presence, Dear

Before the iconography, before the stadiums, Blondie were a tight, clever New York band with a gift for melody and emotional precision. Debbie Harry’s cool, crystalline delivery gives the song its telepathic shimmer — intimate, stylish, and effortlessly poised. Exactly the kind of performance OGWT would have lingered on.


Focus – Hocus Pocus

A joyous, unhinged burst of virtuosity. Yodelling, shredding, flute runs, rhythmic acrobatics — all colliding in a way that only Focus could make coherent. OGWT had a soft spot for the eccentric and the technically fearless, and this track remains a reminder that musicianship can be both serious and absurd at the same time.


Dr Feelgood – Roxette

Pub‑rock stripped to the bone: tight, sweaty, and utterly committed. Wilko Johnson’s staccato guitar style — all attack, no indulgence — is the kind of performance OGWT treated as a craft demonstration. A masterclass in economy, intent, and the power of leaving space.


The Bangles – Walk Like an Egyptian

A pop song with sly intelligence beneath the surface. The harmonies, the rhythmic snap, the sense of playful detachment — all of it delivered with a precision that belies the song’s breezy exterior. OGWT always appreciated pop that was built like architecture, and this track is a perfect example.


Gary Numan – Are ‘Friends’ Electric?

Minimalist, icy, and epoch‑shifting. Numan’s stillness-as-theatre performance style was exactly the kind of boundary‑pushing OGWT championed. The track remains a landmark in British electronic music — alienation rendered as architecture and pulse, with a kind of emotional distance that becomes its own form of intimacy.


Ultravox – Hiroshima Mon Amour

European, atmospheric, and steeped in cinematic melancholy. OGWT gravitated toward bands who treated the stage as a place for mood rather than spectacle, and this track — all cold‑wave textures and emotional restraint — feels like it was made for that dimly lit studio.


Madness – Time

Behind the humour and the ska‑pop bounce, Madness always had a deep melodic intelligence. Time shows their reflective side — wistful, observational, quietly affecting. OGWT would have leaned into the musicianship rather than the caricature, letting the song’s emotional clarity speak for itself.


Janis Ian – At Seventeen

One of the great confessional songs of the 20th century. Ian’s delivery — vulnerable but unflinching — embodies the OGWT tradition of spotlighting artists who could silence a room with a single line. It still feels like a private admission whispered into the dark, decades later.


Nils Lofgren – Goin’ Back

A musician’s musician: precise, soulful, technically immaculate without ever losing emotional clarity. OGWT often showcased players like Lofgren — artists whose craft spoke louder than any hype machine. This track is a beautifully phrased homage to memory, return, and the quiet ache of looking back.

 


By Pat Harrington

A vinyl record with the title 'Lyrics to Live By 2' prominently displayed, featuring the subtitle 'Further Reflections, Meditations & Life Lessons' and a 'Buy Now' button next to the author's name, Tim Bragg, against a yellow background.

 

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