“Because sometimes the music just needs to be BIG. And who better to lay it all down than the band that put a name to such stuff, The Waterboys, who yes, as a matter of fact, were more relevant than U2 in the power and passion realm come the mid-1980s. Because in main man Mike Scott, they had a proper a poet on board, and thus more colours, clearer visions, greater incision. At least that was the argument a few months ago. This Is The Sea (album and song) versus The Unforgettable Fire (album and song), both high water marks, no doubt, but Waterboys had more of it, whatever it is, because water beats fire every time. I guess. What I can easily say now, many years after the fact, is that the album (and band) that still speaks to me is the outfit that Mr. Scott put together way back when, because unlike U2, he found a way to haul on the reins at just the right moment, stopped the whole mad and beautiful thing from charging off into the abyss of fame and ridiculousness which, I figure, mainly meant not losing focus, making sure the music and poetry that infused it remained bigger than all other concerns. Or something like that. Because like the song says, this ain’t no brook, no creek, no river even, this is this, as big as it gets. Bigger than words anyway.” (Philip Random)
Fisherman’s Blues is the album where main Waterboy Mike Scott went to Ireland for a few days, ended up getting lost on the west coast somewhere, not returning for years (or so the legend goes, and goes, and goes). We Will Not Be Lovers feels like the result of a powerhouse jam session wherein rock and folk attitudes piled into each other in a sustained and brilliant collision. “The words are pretty sharp as well, concerning the opposite of a love. Not hate so much as … well, you know the feeling. You look that other in the eye and all you can see is carnage. And yet you are compelled.” (Philip Random)
“The Big Music is the first Waterboys song I ever heard and it didn’t do much for me. It felt too on the nose, and anyway, wasn’t Big Music U2’s thing? But a decade slipped past and I guess I found it serving a different purpose. More of a statement of intent (from Mike Scott in particular) than some half-baked U2 rip-off. Because the Waterboys had since proven themselves entirely their own unique beast, and pagan at that, like the wild crash of surf on a northern shore, at sunset, everything turning blood red. I actually saw that happen once, off Ireland, while listening to a different Waterboys track. Proof that gods exist, and here they were showing off at the edge of things. And they’re still at it, by the way. The Waterboys, that is. I can’t speak for the gods.” (Philip Random)
Old England being the grimmest track found on the Waterboys‘ otherwise mostly uplifting 1985 masterpiece This is the Sea. Because what value empire when it’s children are giving up, choosing instead the kingdom inherent in refined opium? You can see it in their heroin eyes. The sun is most definitely setting. And just to make it clear he wasn’t messing around, main Waterboy Mike Scott would soon be relocating to Ireland with (again) almost entirely uplifting results.