MPEG-4 Part 3 or MPEG-4 Audio (formally ISO/IEC 14496-3) is the third part of the ISO/IEC MPEG-4 international standard developed by Moving Picture Experts Group.^[1] It specifies audio coding methods. The first version of ISO/IEC 14496-3 was published in 1999.^[2]

The MPEG-4 Part 3 consists of a variety of audio coding technologies - from lossy speech coding (HVXC, CELP), general audio coding (AAC, TwinVQ, BSAC), lossless audio compression (MPEG-4 SLS, Audio Lossless Coding, MPEG-4 DST), a Text-To-Speech Interface (TTSI), Structured Audio (using SAOL, SASL, MIDI) and many additional audio synthesis and coding techniques.^{[3][4][5][6][7][8][9][10][11]}

MPEG-4 Audio does not target a single application such as real-time telephony or high-quality audio compression. It applies to every application which requires the use of advanced sound compression, synthesis, manipulation, or playback. MPEG-4 Audio is a new type of audio standard that integrates numerous different types of audio coding: natural sound and synthetic sound, low bitrate delivery and high-quality delivery, speech and music, complex soundtracks and simple ones, traditional content and interactive content.^[7]

Versions[link]

Subparts[link]

MPEG-4 Part 3 contains following subparts:^[16]

• Subpart 1: Main (list of Audio Object Types, Profiles, Levels, interface to ISO/IEC 14496-1, MPEG-4 Audio transport stream, etc.)
• Subpart 2: Speech coding - HVXC (Harmonic Vector eXcitation Coding)
• Subpart 3: Speech coding - CELP (Code Excited Linear Prediction)
• Subpart 4: General Audio Coding (GA) (Time/Frequency Coding) - AAC, TwinVQ, BSAC
• Subpart 5: Structured Audio (SA)
• Subpart 6: Text to Speech Interface (TTSI)
• Subpart 7: Parametric Audio Coding - HILN (Harmonic and Individual Line plus Noise)
• Subpart 8: Technical description of parametric coding for high quality audio (SSC, Parametric Stereo)
• Subpart 9: MPEG-1/MPEG-2 Audio in MPEG-4
• Subpart 10: Technical description of lossless coding of oversampled audio (MPEG-4 DST - Direct Stream Transfer)
• Subpart 11: Audio Lossless Coding (ALS)
• Subpart 12: Scalable Lossless Coding (SLS)

MPEG-4 Audio Object Types[link]

MPEG-4 Audio includes a system for handling a diverse group of audio formats in a uniform matter. Each format is assigned a unique Audio Object Type to represent it.^[17][18] Object Type is used to distinguish between different coding methods. It directly determines the MPEG-4 tool subset required to decode a specific object. The MPEG-4 profiles are based on the object types and each profile supports different list of object types.^[18]

Audio Profiles[link]

Hierarchical structure of AAC Profile, HE-AAC Profile and HE-AAC v2 Profile, and compatibility between them. The HE-AAC Profile decoder is fully capable of decoding any AAC Profile stream. Similarly the HE-AAC v2 decoder can handle all HE-AAC Profile streams as well as all AAC Profile streams. Based on the MPEG-4 Part 3 technical specification.^[20]

The MPEG-4 Audio standard defines several profiles. These profiles are based on the object types and each profile supports different list of object types. Each profile may also have several levels, which limit some parameters of the tools present in a profile. These parameters usually are the sampling rate and the number of audio channels decoded at the same time.

Audio storage and transport[link]

There is no standard for transport of elementary streams over a channel, because the broad range of MPEG-4 applications have delivery requirements that are too wide to easily characterize with a single solution.

The capabilities of a transport layer and the communication between transport, multiplex, and demultiplex functions are described in the Delivery Multimedia Integration Framework (DMIF) in ISO/IEC 14496-6.^[16] A wide variety of delivery mechanisms exist below this interface, e.g., MPEG transport stream, Real-time Transport Protocol (RTP), etc.

Transport in Real-time Transport Protocol is defined in RFC 3016 (RTP Payload Format for MPEG-4 Audio/Visual Streams), RFC 3640 (RTP Payload Format for Transport of MPEG-4 Elementary Streams), RFC 4281 (The Codecs Parameter for "Bucket" Media Types) and RFC 4337 (MIME Type Registration for MPEG-4).

LATM and LOAS were defined for natural audio applications, which do not require sophisticated object-based coding or other functions provided by MPEG-4 Systems.

Bifurcation in the AAC technical standard[link]

The Advanced Audio Coding in MPEG-4 Part 3 (MPEG-4 Audio) Subpart 4 was enhanced relative to the previous standard MPEG-2 Part 7 (Advanced Audio Coding), in order to provide better sound quality for a given encoding bitrate.

It is assumed that any Part 3 and Part 7 differences will be ironed out by the ISO standards body in the near future to avoid the possibility of future bitstream incompatibilities. At present there are no known player or codec incompatibilities due to the newness of the standard.

The MPEG-2 Part 7 standard (Advanced Audio Coding) was first published in 1997 and offers three default profiles^[49][50]: Low Complexity profile (LC), Main profile and Scalable Sampling Rate profile (SSR).

The MPEG-4 Part 3 Subpart 4 (General Audio Coding) combined the profiles from MPEG-2 Part 7 with Perceptual Noise Substitution (PNS) and defined them as Audio Object Types (AAC LC, AAC Main, AAC SSR).^[4]

HE-AAC[link]

High-Efficiency Advanced Audio Coding is an extension of AAC LC using spectral band replication (SBR), and Parametric Stereo (PS). It is designed to increase coding efficiency at low bitrates by using partial parametric representation of audio.

AAC-SSR[link]

AAC Scalable Sample Rate was introduced by Sony to the MPEG-2 Part 7 and MPEG-4 Part 3 standards.^{[citation needed]} It was first published in ISO/IEC 13818-7, Part 7: Advanced Audio Coding (AAC) in 1997.^[49][50] The audio signal is first split into 4 bands using a 4 band polyphase quadrature filter bank. Then these 4 bands are further split using MDCTs with a size k of 32 or 256 samples. This is similar to normal AAC LC which uses MDCTs with a size k of 128 or 1024 directly on the audio signal.

The advantage of this technique is that short block switching can be done separately for every PQF band. So high frequencies can be encoded using a short block to enhance temporal resolution, low frequencies can be still encoded with high spectral resolution. However, due to aliasing between the 4 PQF bands coding efficiencies around (1,2,3) * fs/8 is worse than normal MPEG-4 AAC LC.

MPEG-4 AAC-SSR is very similar to ATRAC and ATRAC-3.

Why AAC-SSR was introduced[link]

The idea behind AAC-SSR was not only the advantage listed above, but also the possibility of reducing the data rate by removing 1, 2 or 3 of the upper PQF bands. A very simple bitstream splitter can remove these bands and thus reduce the bitrate and sample rate.

Example:

• 4 subbands: bitrate = 128 kbit/s, sample rate = 48 kHz, f_lowpass = 20 kHz
• 3 subbands: bitrate ~ 120 kbit/s, sample rate = 48 kHz, f_lowpass = 18 kHz
• 2 subbands: bitrate ~ 100 kbit/s, sample rate = 24 kHz, f_lowpass = 12 kHz
• 1 subband: bitrate ~ 65 kbit/s, sample rate = 12 kHz, f_lowpass = 6 kHz

Note: although possible, the resulting quality is much worse than typical for this bitrate. So for normal 64 kbit/s AAC LC a bandwidth of 14–16 kHz is achieved by using intensity stereo and reduced NMRs. This degrades audible quality less than transmitting 6 kHz bandwidth with perfect quality.

BSAC[link]

Bit Sliced Arithmetic Coding is an MPEG-4 standard (ISO/IEC 14496-3 subpart 4) for scalable audio coding. BSAC uses an alternative noiseless coding to AAC, with the rest of the processing being identical to AAC. This support for scalability allows for nearly transparent sound quality at 64 kbit/s and graceful degradation at lower bit rates. BSAC coding is best performed in the range of 40 kbit/s to 64 kbit/s, though it operates in the range of 16 kbit/s to 64 kbit/s. The AAC-BSAC codec is used in Digital Multimedia Broadcasting (DMB) applications.

Licensing[link]

In 2002, the MPEG-4 Audio Licensing Committee selected the Via Licensing Corporation as the Licensing Administrator for the MPEG-4 Audio patent pool.^[3][51][52]

See also[link]

• TwinVQ - one of the object types defined in MPEG-4 Audio version 1
• MPEG-4 Part 2
• MPEG-4 Part 14 container format (MP4)
• Digital rights management
• Advanced Audio Coding (AAC)

References[link]

External links[link]

• Apple: MPEG-4: AAC
• "HE-AAC" (VideoLAN WIKI)
• EBU subjective listening tests on low-bitrate audio codecs
• AAC radio stations - Online radio stations in AAC format
• Tuner2 - Directory of radio stations in AAC+ format at various bitrates
• RadioFeeds UK & Ireland - Page containing plenty of terrestrial stations webcasting in AAC+ format.
• [1] A page comparing codecs including He-AAC @64 kbit/s by listening tests.
• Official MPEG web site
• RFC 3016 - RTP Payload Format for MPEG-4 Audio/Visual Streams
• RFC 3640 - RTP Payload Format for Transport of MPEG-4 Elementary Streams
• RFC 4281 - The Codecs Parameter for "Bucket" Media Types
• RFC 4337 - MIME Type Registration for MPEG-4

Professional ratings
Review scores
Source	Rating
Allmusic	[1]
Robert Christgau	B+ [2]

Part 3 is the fourth studio album by the funk and disco group KC and the Sunshine Band. The album was produced by Harry Wayne Casey and Richard Finch and was released in October 1976 on the TK label.

History[link]

Part 3 contains three of the bands biggest hits, "(Shake, Shake, Shake) Shake Your Booty", "I'm Your Boogie Man", and "Keep It Comin' Love". The first two reached #1 on the Billboard Hot 100 while the third peaked at number two. Two other singles, "I Like to Do It" and "Wrap Your Arms Around Me" found moderate success on the charts. The album was remastered and reissued in 2006 by Collector's Choice Music.

Track listing[link]

All songs written and composed by Harry Wayne Casey and Richard Finch. 

Personnel[link]

• Harry Wayne Casey – keyboards, vocal
• Jerome Smith – guitar
• Richard Finch – bass guitar, drum, percussion
• Robert Johnson – drum
• Fermin Goytisolo – percussion
• Ken Faulk – trumpet
• Vinnie Tanno – trumpet
• Mike Lewis – tenor saxophone
• Whit Sidener – baritone saxophone
• Beverly Champion – background vocals
• Margaret Reynolds – background vocals
• Jeanette Williams – background vocals

References[link]

External links[link]

• Part 3 at Discogs

v t e KC and the Sunshine Band Members Harry Wayne "K.C." Casey Richard Finch Jerome Smith Eugene Timmons Studio albums Do It Good (1974) KC and the Sunshine Band (1975) The Sound of Sunshine (1975) Part 3 (1976) Who Do Ya (Love) (1978) Do You Wanna Go Party (1979) Space Cadet: Solo Flight (1981) The Painter (1981) All in a Night's Work (1982) KC Ten (1984) Oh Yeah! (1993) I'll Be There for You (2001) Yummy (2007) Live albums Get Down Live! (1995) Compilation albums Greatest Hits (1980) The Best of KC and the Sunshine Band (1990) 25th Anniversary Collection (1999) In A Mellow Mood (2005) Singles "Get Down Tonight" "That's the Way (I Like It)" "Rock Your Baby" "(Shake, Shake, Shake) Shake Your Booty" "I'm Your Boogie Man" "Keep It Comin' Love" "Boogie Shoes" "It's the Same Old Song" "Please Don't Go" "Give It Up" Related articles Discography Book · Category

The Pogues
Background information
Also known as	Pogue Mahone
Origin	Kings Cross, London, England
Genres	Celtic punk, folk punk
Years active	1982–1996, 2001–present
Website	Pogues.com
Members
Spider Stacy Jem Finer Shane MacGowan James Fearnley Andrew Ranken Phil Chevron Darryl Hunt Terry Woods
Past members
Cait O'Riordan Joe Strummer Dave Coulter James McNally Jamie Clarke

The Pogues are an Irish rock band from London, formed in 1982 and fronted by Shane MacGowan. The band reached international prominence in the 1980s and early 1990s. MacGowan left the band in 1991 due to drinking problems but the band continued first with Joe Strummer and then with Spider Stacy on vocals before breaking up in 1996.^[1] The band reformed in 2001, and has been playing regularly ever since, most notably on the US East Coast around St Patrick's Day and across the UK and Ireland every December. The group has yet to record any new music and, according to Spider Stacy on Pogues.com, has no inclination to do so.

Their politically tinged music was informed by MacGowan and Stacy's punk backgrounds,^[2] yet used traditional Irish instruments such as the tin whistle, cittern, mandolin and accordion.

The Pogues were founded in Kings Cross,^[3] a district of North London, in 1982 as Pogue Mahone—pogue mahone being the Anglicisation of the Irish póg mo thóin, meaning "kiss my arse".^[4]

Band history[link]

The roots of The Pogues were formed when MacGowan (vocals), Peter "Spider" Stacy (tin whistle), and Jem Finer (banjo) were together in an occasional band called The Millwall Chainsaws in the late 1970s after MacGowan and Stacy met in the toilets at a Ramones gig at The Roundhouse in 1977.^[5] MacGowan was already with The Nips, though when they broke up in 1980 he concentrated a bit more on Stacy's Millwall Chainsaws who changed their name to The New Republicans. During this period MacGowan and Finer auditioned unsuccessfully for a licence to busk at Covent Garden.^[6] In 1982 James Fearnley (accordion) joined MacGowan, Stacy, and Finer, calling the band Pogue Mahone. The new group played their first gig at The Pindar of Wakefield on 4 October 1982.^[7]

	"Haunted" noicon Sample of Caitlín O'Riordan singing "Haunted" with the Pogues.
Problems listening to this file? See media help.

They then appeared at Gossips in Dean Street Soho on Thursday November 3rd with Trash Trash Trash and The Stingrays.

They later added Cait O'Riordan (bass) and Andrew Ranken (drums). The band played London pubs and clubs,^[8] and released a single, "Dark Streets of London",^[9] on their own, self-named label, gaining a small reputation—especially for their live performances. They came to the attention of the media and Stiff Records when they opened for The Clash on their 1984 tour.^[1] Shortening their name to "The Pogues" (partly due to BBC censorship following complaints from Gaelic speakers in Scotland) they released their first album Red Roses for Me on Stiff that October.

The band gained more attention when the UK Channel 4's influential music show The Tube made a video of their version of "Waxie's Dargle" for the show. The performance—featuring Spider Stacy repeatedly smashing himself over the head with a beer tray (in the manner of Bob Blackman's infamous "Mule Train/Mule Tray")—became a favourite with the viewers, but Stiff refused to release it as a single, feeling it was too late for it to help Red Roses for Me (in fact Stiff was by then in deep financial trouble). Nevertheless, it remained a favourite request for the show for many years.

With the aid of punk and New Wave forefather Elvis Costello they recorded the follow-up, Rum Sodomy & the Lash, in 1985 during which time guitarist Philip Chevron joined. The album title is a famous comment falsely attributed to Winston Churchill who was supposedly describing the "true" traditions of the British Royal Navy.^[10] The album cover featured The Raft of the Medusa, with the faces of the characters in Théodore Géricault's painting replaced with those of the band members. The album shows the band moving away from covers to original material. Shane MacGowan came into his own as a songwriter with this disc, offering up poetic story-telling, such as "The Sick Bed of Cúchulainn" and "The Old Main Drag", as well as definitive interpretations of Ewan MacColl's "Dirty Old Town" and Eric Bogle's "And the Band Played Waltzing Matilda" (this had previously been covered by Shane's fellow punk contemporaries The Skids in 1981).

The band failed to take advantage of the momentum created by the strong artistic and commercial success of their second album. They first refused to record another album (offering up the four-track EP Poguetry in Motion instead); O'Riordan married Costello and left the band, to be replaced by bassist Darryl Hunt, formerly of Plummet Airlines and Pride of the Cross; and they added a multi-instrumentalist in Terry Woods, formerly of Steeleye Span. Looming over the band at this period (as throughout their entire career) was the increasingly erratic behaviour of their vocalist and principal songwriter, Shane MacGowan. Their record label, Stiff Records, went bankrupt soon after the 1987 release of the single "The Irish Rover" (with The Dubliners). Members of the band, including O'Riordian, acted in Alex Cox's Straight to Hell, and five songs by the band were included on the film's soundtrack album.

Success and breakup[link]

The band remained stable enough to record If I Should Fall from Grace with God in 1988 (with its Christmas hit duet with Kirsty MacColl "Fairytale of New York", which was voted "the best Christmas song ever" in VH1 UK polls in 2004) and 1989's Peace and Love.^[11] The band was at the peak of its commercial success, with both albums making the top 5 in the UK (numbers 3 and 5 respectively), but MacGowan was increasingly unreliable. He failed to turn up for the opening dates of their 1988 tour of America, and prevented the band from promoting their next album, Hell's Ditch, so in 1991 the band sacked him.^[2] Vocal duties were for a time handled by Joe Strummer, before Stacy finally took over permanently. After Strummer's departure, the remaining seven Pogues recorded Waiting for Herb, which contained the band's third and final top twenty single, "Tuesday Morning", which became their best-selling single internationally. Terry Woods and James Fearnley then left the band and were replaced by David Coulter and James McNally respectively. Within months of their departures, ill health forced Phil Chevron to leave the band; he was replaced by his former guitar technician, Jamie Clarke. This lineup recorded the band's seventh (and final) studio album, Pogue Mahone. The album was a commercial failure, and, following Jem Finer's decision to leave the band in 1996, the remaining members decided it was time to call it quits. According to Shane MacGowan, amongst the reasons of the breakup was disagreement concerning the political orientation of his songs, the band not wanting to sing too obvious pro-republican songs^[12] — though some of their previous songs were already politically engaged : for instance, Streams of Whiskey is about the poet and IRA member Brendan Behan. Soon after the breakup Shane MacGowan recorded a song called Paddy Public Enemy Number One as a tribute to the Republican leader Dominic McGlinchey, a former leader of the INLA killed a few years before.

Post-breakup[link]

After the Pogues' break-up, the three remaining long-term members (Spider Stacy, Andrew Ranken and Darryl Hunt) played together briefly as the Vendettas. They played mainly new Stacy-penned tracks, though Darryl Hunt also contributed songs, and the band's live set included a few Pogues songs. First Ranken then Hunt left the band, the latter going on to become singer/songwriter in an indie band called Bish, whose self-titled debut album was released in 2001. Ranken has gone on to play with a number of other bands, including hKippers, The Municipal Waterboard and, most recently, The Mysterious Wheels. In addition to The Vendettas who Stacy freely admits lost all attraction when the Pogues reformed, Spider continued to write and record music with various bands, including the James Walbourne, Filthy Thieving Bastards, Dropkick Murphys and Astral Social Club. Shane MacGowan founded Shane MacGowan and The Popes in 1992. They only managed two studio albums but struggled on until 2002. His autobiography A Drink With Shane MacGowan, co-written with his journalist girlfriend Victoria Mary Clarke, was released in 2001. Jem Finer went into experimental music, playing a big part in a project known as "Longplayer", a piece of music designed to play continuously for 1,000 years without repeating itself. In 2005, Finer released the album Bum Steer with DB Bob (as DM Bob and Country Jem). James Fearnley moved to the United States shortly before leaving the Pogues. He was a member of The Low And Sweet Orchestra and later the Cranky George Trio. Philip Chevron reformed his former band The Radiators, which briefly included former Pogue Cait O'Riordan. Terry Woods formed The Bucks with Ron Kavana, releasing the album Dancin' To The Ceili Band in 1994. Later, he formed The Woods Band, releasing the album Music From The Four Corners of Hell in 2002.

Reunion[link]

The Pogues in Brixton, 2004

The band, including MacGowan, re-formed for a Christmas tour in 2001 and performed nine shows in the UK and Ireland in December 2004. In 2002 Q magazine named The Pogues as one of the "50 Bands To See Before You Die". In July 2005, the band—again including MacGowan—played at the annual Guilfest festival in Guildford before flying out to Japan where they played three dates. Japan is the last place they all played together before MacGowan was originally sacked in 1991, and they have a strong following there. They played a date in Spain in early September. The reunited Pogues played dates in the UK with support from the Dropkick Murphys in late 2005, and re-released their 1987 Christmas classic "Fairytale of New York" on 19 December, which went straight in at #3 in the UK Singles charts on Christmas Day 2005, showing the song's enduring popularity. On 22 December 2005 the BBC broadcast a live performance (recorded the previous week) on the Jonathan Ross Christmas show with Katie Melua filling in for the late Kirsty MacColl, the first time the band had played the song live on television. The following week they performed live on the popular music show CD:UK.

Shane MacGowan wrote a blog for The Guardian website in 2006, detailing his thoughts on the current tour.^[13]

The Pogues with Shane MacGowan, October 11, 2006 in San Diego

The band was awarded the lifetime achievement award at the annual Meteor Ireland Music Awards in February 2006. In March 2006, the band played their first U.S. dates with Shane in over 15 years. The band played a series of sold-out concerts in Washington D.C., Atlantic City, Boston, and New York. Later they played a series of highly acclaimed and sold-out gigs during mid-October 2006 in San Francisco, Las Vegas, and Los Angeles, and toured Glasgow, Manchester, Birmingham, London, Dublin, and Nottingham in mid-December 2006. They began a second U.S. tour in March 2007, once again to coincide (and conclude) with a Roseland Ballroom New York City show on Saint Patrick's Day. 2007 has proved to be the most prolific year of touring since the reunion. A tour of the west coast of America and eleven dates in the UK in December complement the headlining festival appearances made in the summer across Europe (Sweden, Belgium and Spain). They continue to be in huge demand, often selling out very large venues, despite criticism of selling out, and claims that arenas and festivals do not suit the band's sound.

The Pogues on August 1, 2010 in Amsterdam

The Pogues 2011 in Munich, Philip Chevron, James Fearnley, Andrew Ranken, Shane MacGowan, Darryl Hunt, Spider Stacy, Jem Finer not on photo Terry Woods

Guitarist Phil Chevron has stated there were no plans to record new music or release a new album. Chevron said that one way to keep enjoying what they were doing was to avoid making a new album, although he did say that there still is a possibility in the future for new music, but certainly not in the near future. Terry Woods has commented that MacGowan has been writing, and most of it sounds good. In 2008 the band released a box set Just Look Them Straight in the Eye and Say....POGUE MAHONE!!, which included rare studio out-takes and previously unreleased material.^[14]

The band has received mixed reviews of some recent performances though they continue to pull the crowds. Reviewing a March 2008 concert, The Washington Post described MacGowan as "puffy and paunchy," but said the singer "still has a banshee wail to beat Howard Dean's, and the singer's abrasive growl is all a band this marvelous needs to give its amphetamine-spiked take on Irish folk a focal point." The reviewer continued: "The set started off shaky, MacGowan singing of `goin' where streams of whiskey are flowin,' and looking like he'd arrived there already. He grew more lucid and powerful as the evening gathered steam, through two hours and 26 songs, mostly from the Pogues' first three (and best) albums".^[15] In December 2010 the Pogues (with support from Crowns) played what was billed as a farewell UK Christmas tour.

In March 2011, the Pogues played a six-city/ten-show sold out US tour titled "A Parting Glass with The Pogues" visiting Chicago, Detroit, Baltimore, Washington D.C., Boston, and New York (in that order), with only the last three cities getting more than one show. It may, or may not, be the last time they tour the States. Stacy said “I think we are basically pretty certain this is the last tour of this type we’ll be doing in the States. There might be the odd sort of one-off here and there. We’re not saying this is absolutely, definitely the end.”^[16]

Members[link]

Current

• Shane MacGowan - vocals, guitar, banjo, bodhrán (1982–1991, 2001–present)
• Spider Stacy - vocals, tin whistle (1982–1996, 2001–present)
• Jem Finer - banjo, mandola, saxophone, hurdy-gurdy, guitar, vocals (1982–1996, 2001–present)
• Andrew Ranken - drums, percussion, harmonica, vocals (1982–1996, 2001–present)
• James Fearnley - accordion, mandolin, piano, guitar (1982–1993, 2001–present)
• Philip Chevron - guitar, vocals (1985–1994, 2001–present)
• Darryl Hunt - bass guitar (1986–1996, 2001–present)
• Terry Woods - mandolin, cittern, concertina, guitar, vocals (1986–1993, 2001–present)

Former members

• Cait O'Riordan - bass, vocals (1982–1986, 2004)
• Joe Strummer - vocals, guitar (1991–1992; also replaced an ailing Phil Chevron for a U.S. tour in 1987; died 2002)
• Dave Coulter - mandolin, violin, ukulele, percussion (1993–1996)
• James McNally - accordion, whistles, percussion (1993–1996)
• Jamie Clarke - guitar, vocals (1995–1996)

Discography[link]

Hit-song 'Fairytale of New York'[link]

"Fairytale of New York" was released as a single in 1987 and reached #1 in the Irish charts and #2 in the British charts over Christmas (the time of peak sales). The song has become a festive classic in the UK and Ireland over the years, and was voted the best Christmas song of all time three years running in 2004,^[17] 2005,^[18] and 2006 in polls by music channel VH1 UK, despite not achieving Christmas Number One when it was released. It was also voted as the 27th greatest song never to reach UK#1 in another VH1 poll, and also voted as the 84th greatest song of all time by BBC Radio 2 listeners in their "Sold on Song" top 100 poll. In 2007 the record was briefly censored by the BBC because of the word "faggot" being deemed potentially offensive to gay people. Following protests from listeners, including the mother of Kirsty MacColl, the censorship was lifted.

Albums[link]

• Red Roses for Me (1984): #89 UK
• Rum Sodomy & the Lash (1985): #13 UK
• If I Should Fall from Grace with God (1988): #3 UK, #88 US, #15 NO
• Peace and Love (1989): #5 UK, #118 US, #13 NO
• Hell's Ditch (1990) #12 UK, #187 US
• Waiting for Herb (1993): #20 UK
• Pogue Mahone (1996)^[19][20]

Live albums[link]

• Streams of Whiskey: Live in Leysin, Switzerland 1991 (2002)
• The Ultimate Collection including Live at the Brixton Academy 2001 (2005): #15 UK

Compilation albums[link]

• The Best of The Pogues (1991): #11 UK
• Essential Pogues (1991)
• The Rest of The Best (1992)
• The Very Best of The Pogues (2001): #18 UK
• The Ultimate Collection (2005): #15 UK
• Dirty Old Town: The Platinum Collection (Budget CD) (2005)
• Just Look Them Straight in the Eye and Say....POGUE MAHONE!! (Anthology/Box Set of rare and unreleased tracks) (2008)

Video[link]

• The Pogues: Live at The Town & Country Club St Patricks Day 1988 VHS 1988
• POGUEVISION" Music Video Collection – VHS 1991

Singles[link]

References[link]

External links[link]

• Official Pogues site
• Official Shane MacGowan site
• The Guardian article
• "dirty old town"

Antoine de Caunes
Antoine de Caunes (right) in London
Born	(1953-12-01) December 1, 1953 (age 58) Paris
Occupation	Television presenter and film actor and director
Children	Emma de Caunes
Parents	Georges de Caunes and Jacqueline Joubert

Antoine de Caunes (born 1 December 1953 in Paris, France) is a television presenter, actor, writer and film director. He is the son of two prominent French personalities, television journalist-reporter Georges de Caunes and television announcer Jacqueline Joubert. He is the father of the actress Emma de Caunes.

Career[link]

He began his career writing theme songs for cartoons for Antenne 2 under the pseudonym of Paul Persavon, including Cobra and Space Sheriff Gavan (known in France as X-Or).

His early TV appearances included Chorus (1975), the series Les Enfants du rock, again for A2, and then his breakthrough with Nulle part ailleurs for Canal+.^[1]

De Caunes came to fame in the English-speaking world on the BBC2 television series Rapido, notable for his catchphrase, in the thickest of French accents, "Rap, Rap, Rap, Rapiiiidoo". He then went on to create the long-running adult entertainment programme Eurotrash with Jean-Paul Gaultier for Channel 4. He also presented a short-lived chat show on Channel 4 called Le Show. In addition he appeared in an advertising campaign for Rowntree's Fruit Pastilles ice lollies, which he claimed to be "a French lollipop, on a very British stick."

He provided voices in Aardman Animation TV show Rex the Runt.

He has been a long-time AIDS awareness campaigner, fronting the organisation Soirées de l'humour — Solidarité sida.

Film actor[link]

Portrait of de Caunes.

• Pentimento (1989)
• Les deux papas et la maman (1996)
• C'est pour la bonne cause! (1997)
• La divine poursuite (1997)
• L'homme est une femme comme les autres (1998)
• Au coeur du mensonge (1999)
• Chili con carne (1999)
• Là-bas... mon pays (2000)
• Le vélo de Ghislain Lambert (2001) (narrator)
• Blanche (2002)
• Les clefs de bagnole (2003)
• Mr. Bean's Holiday (2007)

Film director[link]

• T'en as? (2000)
• Scénario sur la drogue (2000)
• Les Morsures de l'aube (2001)
• Monsieur N. (2003)
• Coluche, l'histoire d'un mec (2008)

References[link]

External links[link]

• Antoine de Caunes at the Internet Movie Database
• Eurotrash at Channel 4 - Adult content

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