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The Making of "Fairytale of New York" by The Pogues - featuring Steve Lillywhite, Jem Finer and James Fearnley

The Making of "Fairytale of New York" by The Pogues - featuring Steve Lillywhite, Jem Finer and James Fearnley

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 In celebration of the Pogues’ 'Fairytale of New York' EP, we take a detailed look at how their classic Christmas single came together. The Pogues originally formed in London in 1982 by Shane MacGowan, Spider Stacy and Jem Finer. MacGowan had gotten his start playing in the punk band, the Nipple Erectors, and when that band broke up, he began playing in an Irish traditional music style. Gradually, he brought in James Fearnley, Cait O’Riordan and John Hasler to become a sextet. Andrew Ranken replaced John Hasler as they signed with Stiff Records. Their debut album, Red Roses for Me, was released in 1984. For their second album, they added Philip Chevron on guitar and hired Elvis Costello as their producer. Rum Sodomy & the Lash was released in 1985, and they continued working with Costello for the Poguetry in Motion EP, released in 1986. At this point, Cait O’Riordan left the band and they updated the lineup to include Darryl Hunt and Terry Woods. They signed to Island Records and hired Steve Lillywhite to produce their third album. If I Should Fall from Grace with God was eventually released in 1988 and included the Christmas single, “Fairytale of New York.” In this episode, Steve Lillywhite describes working with the Pogues at this pivotal time in their career when they were expanding the lineup and becoming more ambitious with their song structures and arrangements. Despite not having experience recording a traditional folk band, Lillywhite proved to be the right producer for the Pogues at this moment. His input and confidence in the studio led to them splicing two sections of “Fairytale of New York” together and also enlisting his wife Kirsty MacColl to sing the female part in the song. Jem Finer talks about his initial writing process for the song and how he wrote two potential Christmas ideas that his wife Marcia dismissed as being far too sentimental. Her input led to him rethinking the song and writing about a down on their luck couple, inspired by people who lived in their neighborhood in London. Finer describes how Shane MacGowan then took the song and moved the setting to New York City and added some key lines that were taken from real conversations. James Fearnley describes the thrill of recording the opening section with just piano and voice and how he practiced repeatedly to be able to get that part right. He talks about how the song deserved an ambitious string arrangement and so he worked out some ideas on a synthesizer before bringing in Fiachra Trench to help with the orchestration. By taking inspiration from film scores like Ennio Morricone’s Once Upon a Time in America and Leonard Bernstein’s On the Waterfront, Fearnley talks about wanting to bring a cinematic sound to match the classic American story that was being told. From the song’s long gestation period of a few years, to Steve Lillywhite bringing the tapes home and casually asking Kirsty MacColl to sing on it, to the inspiration behind the classic “I could’ve been someone” line, to the initial disappointment of getting to number 2 in the charts, to the perfect sparring duet partners in Shane and Kirsty, to the anti-Christmas Christmas song that has become timeless, we’ll hear the stories of how the record came together.
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