Vinyl Vault

After two solid albums of rousing “Big Music” – 1984’s A Pagan Place and 1985’s This Is the Sea – Mike Scott moved to Dublin and quickly became immersed in traditional Irish music. Joining Scott and remaining Waterboys, Steve Wickham and Anthony Thistlethwaite, were Trevor Hutchinson on bass and Peter McKinney on drums. Dubbed the “Raggle Taggle” line-up, the band infused Scott’s songs with a strong foundation of Irish and Scottish folk music. Fisherman’s Blues, the resulting album released in 1988, divided Waterboys’ fans into two camps: one that embraced the band’s foray into a more traditional sound, and one that was hoping for more “Big Music” anthems. So, after more than two decades, where does Fisherman’s Blues stack up? Only a song-by-song analysis will reveal the answer:

Fisherman’s Blues (1988, Chrysalis Records)

Side A

  A1. “Fisherman’s Blues”
From the opening acoustic guitar strums, mandolin plucks, and violin bows, it’s instantly apparent that this record won’t be rehashing the “Big Music” rock anthems of the Waterboys’ previous two albums. But it doesn’t take long before your pumping your fist and jigging around the room to the new sound, an intoxicating blend of traditional Irish instrumentation with a rock and roll attitude and Scott’s trademark wail. This song works on so many levels – it retains the stadium ambitions of the band’s earlier work while branching out in a refreshing new direction. The title track is a perfect set-up of what’s to come.

  A2. “We Will Not Be Lovers”
Dominated by wild violin bowing and a groovy bassline, “We Will Not Be Lovers” is probably the closest you’ll get on this record to the “Big Music” sound of This Is the Sea. Steve Wickham steals the spotlight with his driving violin as Scott spews some lyrical vitriol to a doomed lover, “You just stepped into the maintrack/Climbed down off the fence/Words are your weapon/Lies are your defence.”

  A3. “Strange Boat”
After the 1-2 punch of “Fisherman’s Blues” and “We Will Not Be Lovers,” Scott and the boys slow things down with the gorgeous ballad, “Strange Boat.” Again featuring sublime violin from Wickham, Scott revisits the sea metaphor he’s come to rely on as he laments the strange times he’s living in and the hope that ultimately keeps him afloat.

  A4. “World Party”
“World Party” is surely an apt title for this hard driving track that’s firmly rooted in the “Big Sound” of Scott’s earlier work. It even boasts the trumpet blares that were a hallmark of the Waterboys’ sound up to this point. Scott’s blistering vocal delivery alone makes this song, with the lyrical allusions only enhancing the proceedings: “And the only thing that I remember/Is a summer like a pretty girl/Who shimmers and shines/Moving in time/Shaking to the beat of the heart of the world party.”

  A5. “Sweet Thing”
Before I go any further, let me tell you that Van Morrison’s Astral Weeks is one of my favorite albums and arguably one of the best records of all time. That said, the Waterboys’ version of “Sweet Thing” works on so many levels that I dare declare it equal to the original. If anyone has a voice that can wring emotion from a song the way Van Morrison does, it’s Mike Scott. Giving the song a decidedly less jazzy and more rocking backbone, Scott turns “Sweet Thing” into a spiritual anthem worthy of the intense love about which he sings. The impromptu segue into McCartney’s “Blackbird” at the end of the track is an inspired touch that illustrates how deeply Scott inhabited Van Morrison’s classic.

Side B

  B1. “And a Bang on the Ear”
The Waterboys follow the nearly flawless side A with a strong showing on the lead off track of side B. “And a Bang on the Ear” is a playful Irish jaunt that finds Scott reeling off summaries of relationships past. Delivered with good humor and warm tidings, it’s a refreshing twist on the “love gone wrong” song and keeps the listener interested as he explains his romantic failings. Favorite line: “Is started up in Fife, and ended up in tears (oh dear).”

  B2. “Has Anybody Here Seen Hank”
A plodding waltz that fails to catch fire, “Has Anybody Here Seen Hank” is the first track on the record that doesn’t deliver.

  B3. “When Will We Be Married”
With a strong Irish bent, simply featuring Wickham’s violin and some electric piano, “When Will We Be Married” is an interesting composition but ultimately lacks the intensity and energy of the songs that precede it. Not a total failure, but certainly not one of the strongest tracks on the album.

  B4. “When Ye Go Away”
Hands down, “When Ye Go Away” is one of Scott’s finest compositions. A sort of reworking of Dylan’s “You’re Gonna Make Me Lonesome When You Go,” it features wonderful slide guitar and sublime lyrics. The band has recorded several versions of this track, including a full on rock take, but this simple treatment is by far the most effective.

  B5. “Stolen Child”
Mike Scott’s love for W.B. Yeats is no secret. It’s evident in his earthy and spiritual lyrical style and he’s put three of the poet’s work to music, including “The Stolen Child.” Traditional Gaelic singer Tomas McKeown recites the poem with Scott handling the chorus, all backed by some tasteful piano, violin and flute. If you take the time to immerse yourself in the Yeats’ words you surely won’t be disappointed. But as far as a musical journey, it’s not for the faint of heart.

The Bottom Line

While The Waterboys are most loved for the “Big Music” of their early career, it is Fisherman’s Blues that stands as the band’s most impressive statement. In the age of the download there’s much to recommend here, but there’s no denying that this is a record that works best as a whole, and I urge you to take the time to enjoy it as such. You won’t be sorry.

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