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“Fairytale of New York” – The Pogues w/ Kirsty MacColl
(Words/music: Jem Finer and Shane MacGowan, available on If I Should Fall From Grace With God, Island 1988)

Each year around this time, the number of people who claim “Fairytale of New York” as their favorite Christmas song swells just a little bit.  Understandably, of course, as this is a rare charismatic holiday song amidst a sea of mall muzak and overplayed standards.  MacColl and MacGowan sing with such convincing personality – MacGowan’s voice seems destined for telling a drunk’s story, and MacColl plays his foil with brassy, beautiful charm.  Even without getting into the story, MacGowan’s gruffness, MacColl’s melancholy, and the swelling instrumentation behind them communicates all of the emotions that play out – revelry, melancholy, regret, and hope.

Beyond the song’s vocal and melodic charms, the two lovers’ story resonates with many, particularly in a season of commercialism and abstract love.  Yes, the protagonists seem to be at rock bottom – MacGowan’s character is sobering up in jail while MacColl is dying from a drug addition.  However, despite their frustration, bitterness, and regret they never fall entirely into despondence.  MacColl comes closest, accusing MacGowan of stifling her potential, yet it’s right after she claims that anyone could “be someone.”  Instead, however the song plays out – whether it’s all in MacGowan’s head or whether this is a split screen / split narrative scene – both characters focus on the hopeful Christmases in their past.  Maybe it’s the optimist in me, but it seems like they do this not to point out that they are hopeless, but rather as a way of recapturing any shred of their dreams, ultimately realizing that the only thing they have left is each other, no matter how much they irk each other.  Even if they’re shells of their former selves, there’s hope that somewhere deep is a shred of what inspired their dreams in the first place.

I think it’s this sense of hope even in the bleakest times that resonates.  Even in tough times, Christmas represents a moment of joy and hope for many people.  In a strange way, MacGowan and MacColl’s characters find joy in their loved ones, even if they’re referring to each other in less than affectionate language.  Hopefully we can find that too without having to hit the same nadir they experience.

Happy Christmas if you celebrate it, and I hope that it’s a time of peace, hope, and reprieve for all who need it.

More on The Pogues: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the pogues | shane macgowan | kirsty maccoll | 1988 | 1980s | xmas | island records |
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“A New England (BBC Recording)” – Kirsty MacColl with Billy Bragg
(Words/music: Billy Bragg, available on What Do Pretty Girls Do?, Hex 1998)

I’m a relatively new convert to Billy Bragg (and to those in need of convincing, go seek the Must I Paint You a Picture collection for a strong career overview), but one of the most compelling parts of Bragg’s personality is his propensity to champion other singers.  Whether it’s sharing the stage with younger performers (recently Brit singers Estelle and Kate Nash, among others), collaborating with established acts (most famously with Wilco on the Mermaid Avenue discs), or championing artists rights to own their own intellectual property, few have done more to help cultivate a creative environment in popular music over the past twenty years.  More importantly, Bragg’s collaborations come across as genuine endorsements of those he works with; rather than working with high profile bands or rising singers to raise his own public image, Bragg invests his time in causes (or, in this case, performers) he believes in, offering whatever he can to help their creative growth.

Still, it’s high praise for Bragg to share perhaps his most iconic song with Kirsty MacColl, although I wouldn’t blame him if he just wanted to hear his words sung by someone with as beautiful a voice as her.  MacColl, best known as the firery foil to Shane MacGowan in the Pogues’ “Fairytale of New York,” sings “A New England” like it’s her own song, telling Bragg’s tale of teenage longing through her clear, vibrant voice.  In this version, recorded for the BBC, MacColl and Bragg trade verses and create a conversational tone.  While Bragg’s original sounds like a young man declaring his place in the world, this version sounds like two friends catching up on the past with each other.  In particular, MacColl’s final verse (which Bragg wrote specifically for her), seems focused on the past – it’s the only of the three verses set exclusively in the past tense (where the other two verses compare the past to the present), and appropriately carries the perspective that only time brings.  Even if they sound older, they still sound like they’re having fun, as their voices harmonize together and they laugh during the goofy instrumental break.  I’ve never seen Bragg live, but I’m told he retains the final verse in his solo performances as a tribute to MacColl, who died in 2000.

More on Kirsty MacColl: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: kirsty maccoll | 1998 | 1990s | track analysis | live performance | billy bragg | cover song |
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