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1. This Is The Sea (Amsterdam 1997)

This Is The Sea (Amsterdam 1997)

When we played in Den Haag last week I met up afterwards with some friends, including Miranda who has followed The Waterboys since 1985. I always enjoy seeing Miranda and getting to hang out a little with her. We were talking about a concert long ago at The Melkweg in Amsterdam when someone took our picture together, and we both remembered it as a great show. So specially for Miranda, here's the version of This Is The Sea from that night, played by the Still Burning band - James Hallawell (keyboards), Ian McNabb (bass), Gavin 'Fingers' Ralston (guitar) & Geoff Dugmore (drums). I'm on lead guitar and vocals.

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2. When Ye Go Away (live with Sharon Shannon)

When Ye Go Away (live with Sharon Shannon)

Recorded live at the Dean Crowe Theatre, Athlone, Ireland, 2004 by the Water-trio of: Steve Wickham ~ fiddle Sharon Shannon ~ accordion Mike Scott ~ guitar, vocals Midway through the final instrumental I shout "Aris!" - Irish for "again!"

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3. The Man Who Sold The World (1982)

The Man Who Sold The World (1982)

This cover version of David Bowie's The Man Who Sold The World is one of the very few recordings by my pre-Waterboys band THE RED AND THE BLACK. Vocals and guitars: Mick Puck Bass and sax: Steve Fraser Drums: Martin Saunders Recorded London, January 1982.

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4. Destinies Entwined

Destinies Entwined

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5. Why Should I Love You? (2010 version)

Why Should I Love You? (2010 version)

Kate Bush's song Why Should I Love You. Recorded by me + band in 1997, with new edits and overdubs June 2010 (lead vocal, marimba, keyboards, sundries). Drums: Jeremy Stacey Bass: Mark Smith Hammond, Backing Vocal: James Hallawell Electric Guitar: Gavin Ralston Vocals, Electric Piano, etc: Mike Scott WHY SHOULD I LOVE YOU? This chapter says "Put it out of your mind and give it time” The finest purple The purest gold The red of the Sacred Heart The grey of the ghost The "L" of the lips are open To the "O" of the Host The "V" of the velvet Out of all of the people in the world Why should I love you? There's just something about you There's just something about you Out of all the people in the world Why should I love you? Did you ever see a picture Of Jesus laughing? Mmm, don't you think He’d have a beautiful smile? A smile that healed? Out of all the people in the world Why should I love you? There's just something about you There's just something about you Out of all the people in the world Why should I love you? The finest purple The purest gold The red of the Sacred Heart The grey of the ghost The "L" of the lips are open To the "O" of the Host The "V" of the velvet The "E" of my eye The eye of wonder The eye that sees The "I" that loves you Out of all the people in the world Why should I love you?

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6. Memphis Soul Stew ~ King Curtis (Mick Puck's 3.47 extended edit)

Memphis Soul Stew ~ King Curtis (Mick Puck's 3.47 extended edit)

Memphis Soul Stew was a 1967 single by the great saxman King Curtis. By introducing the instruments one by one, it famously shows how the classic Memphis sound was built up. It also happens to be fantastic to dance to. Except for one thing. At 2 minutes and 55 seconds long the single is too short. Every time the fade hits, just when the band is in ecstatic overdrive, I want it to keep going. So one day I put the song into my favourite sonic software and made a few cunning edits that extend it by almost a minute to 3.47, long enough to get some serious rocks off. Play loud - and mind the furniture.

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7. Savage Earth Heart (Live At Glastonbury, 2000)

Savage Earth Heart (Live At Glastonbury, 2000)

Recorded at The Waterboys comeback UK show, Glastonbury Festival, June 2000. Mick Puck (electric guitar, voice, airships), Jeremy Stacey (fireworks), Sir Richard Naiff (waterhorns) and Livingstone Brown (earth resonator). Click the downward-pointing arrow to download.

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8. Don't Bang The Drum (piano demo)

Don't Bang The Drum (piano demo)

This is my solo piano demo of Don't Bang The Drum, recorded in March 1985 at Park Gates Studio, England. The song had a complicated genesis. I gave the original version of the lyric - written autumn 1984 - to keyboard player Karl Wallinger. Karl set it to music in a sassy 60s retro style, with most of the melodies that would end up in the final version ("Well, here we are..." etc), but with a different groove and some different chords. I built on this, removing some lyrics, adapting the melodies to suit my own voice, and changing/adding some chords. That's what you hear on this demo. Three months later the album version was recorded, following the blueprint of the demo, but with full sound and a new intro, written by myself, featuring Roddy Lorimer's trumpet. (I spent two days recording piano /vocal demos like this of most the songs I'd written for the album - around 25 of them, both finished and unfinished. All the demos have the same piano/vocal sound and intensity as this version of Don't Bang The Drum, and include Be My Enemy, Custer's Blues, Medicine Jack, Spirit, Winter Blows, The Waves, Sleek White Schooner, Beverly Penn, The Pan Within, The Whole Of The Moon and others that have never made it to an album in any form. Maybe one day I'll talk to EMI about putting them out as an album.)

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10. The Girl In The Swing (live)

The Girl In The Swing (live)

His Fiddling Lordship lets rip with two fuzz solos on this acoustic version of The Girl In The Swing, live at The Bloomsbury Theatre, London, April 2004. Song title and concept inspired by Richard Adams' great book of (almost) the same name. Original version on the first Waterboys album (1983).

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11. Initials BB ~ Serge Gainsbourg '68 (Mick Puck's edit)

Initials BB ~ Serge Gainsbourg '68 (Mick Puck's edit)

My mash of the instrumental sections of Serge Gainsbourg's 1968 Brigitte Bardot tribute "Initials BB".

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12. You're A Big Girl Now (live)

You're A Big Girl Now (live)

This is from my little stereo mini-recorder, placed on top of the mixing desk during my set at Hamish Stuart's mOare Music Festival, Kent, England, 12 September 2010. It's a Bob Dylan song, and a great one. Mick Puck: vocals, acoustic gtr James Hallawell: piano Mike Gorman: organ Melvin Duffy: pedal steel Adam Phillips: electric guitar Ash Soan: drums Nick: bass

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13. Saints & Angels (demo with strings)

Saints & Angels (demo with strings)

A demo recorded in 2001 with string arrangement (and performances) by Steve Wickham.

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14. Síocháin Iona (Peace Of Iona in Irish)

Síocháin Iona (Peace Of Iona in Irish)

Peace Of Iona sung in Irish, with lyric translation by Iarla O'Leonard and vocal production by Seamus Begley.

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15. I'm So Lonesome I Could Cry - 1986 recording

I'm So Lonesome I Could Cry - 1986 recording

To celebrate 25 years since the first day's recording of our Fisherman's Blues album, here's one of the tracks we cut that day, Hank Williams' great I'M SO LONESOME I COULD CRY. Anto blows horn, Wickham fiddles, Pete McKinney bashes the skins, The Handsomest Man In Ireland (Trevor Hutchinson) plays bass. And I sing and strum an old guitar. Other songs recorded on Jan 23 1986 included Fisherman's Blues, Sweet Thing (as you hear them on the album), plus Dylan's Girl Of The North Country, gospel great Meet Me At The Station, country fave The Wayward Wind and several unreleased originals. It was a great day.

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16. Gimme Shelter (orchestrated intro)

Gimme Shelter (orchestrated intro)

The intro to the Rolling Stones 1969 track Gimme Shelter is one of the greatest moments in rock'n'roll. Its sonic architecture is based around Keith Richards' modal-tuned guitar figures and it conjures a mood of imminent danger or doom. Yet it feels great. Well...so does danger sometimes. In the 1990s I came across an album of Stones music performed by The London Symphony Orchestra, and the version of Gimme Shelter was arranged by Jaz Coleman of Killing Joke. He did a pretty good job too; the mood of imminent chaos was accurately rendered even with the sedate classical sound of a full orchestra. Last year, while creating a mix mash of instrumental music to be played before Waterboys shows, I synched the two versions - Stones' original and LSO treatment - and this is the result. I did the whole song, in fact, though I found the bulk of the song works better without orchestra, just as nature and Keef intended. But the Stones-and-orchestra intro came out great. Play it loud and feel the mood of impending danger close round you - in a virtual way, of course.

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17. Isn't It A Pity - soundcheck workout

Isn't It A Pity - soundcheck workout

The Waterboys jamming on George Harrison's Isn't It A Pity during soundcheck, UK tour, May 2012. First verse missing, unfortunately, though it gets sung again as a reprise a few minutes in.

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18. My Love Is My Rock ~ instrumental

My Love Is My Rock ~ instrumental

Instrumental mix of MY LOVE IS MY ROCK IN THE WEARY LAND, recorded 1998-9. This track is a sonic tour of rock. The main sound, including the intro, first and last verses and long fade, is a Beatlish/George Harrison/All Things Must Pass feel, with piano, massed guitars and two sets of drums. Thanks for the inspiration Phil Spector. In Verse 2 the track morphs into a 1967 or '97 mellotron band. Verse 3 is psychedelic raga rock circa '66. Verse 4 is crunching grunge circa '91. There's a gospel chorus, modelled on the proper mass choir sound of black gospel concerts and services. And at the very end, the little musical postscript after all the heavy stuff is done, there's a return to the raga rock band but diminished and with a new age harmonium chant vibe. Mick Puck: rhythm guitars, organ, piano, canyon guitar, harmonium, skinbourines, dusters Thighpaulsandra: mellotrons, string machines, fireworms Jeremy Stacey: drums and drums and drums Livingstone Brown: earth resonator The North London Community Gospel Choir The version with lead vocals can be heard on the Waterboys album A Rock In The Weary Land (BMG, 2000).

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19. Whole Of The Moon ~ piano demonstration

Whole Of The Moon ~ piano demonstration

Excerpt from an interview on Radio London, Aug 2012, where I gave a quick demonstration of how the piano style of The Whole Of The Moon was created. Interviewer: Simon Lederman.

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