The Men They Couldn't Hang
In their seven-year span, The Men They Couldn't Hang combined folk, punk and roots music to create an essential live act alongside a wealth of recorded talent. The band emerged as the Pogues’ sparring partners but, despite a blaze of early publicity and praise, they failed to follow them upwards, dogged as they were by numerous label changes. Busking in Shepherds Bush, Welsh singer Cush met up with bassist Shanne (who had been in the Nips with the Pogues’ Shane MacGowan), songwriter/guitarist Paul Simmonds, Scottish guitarist/singer Phil (Swill) and his brother John on drums, in time for a ramshackle folk performance at London's alternative country music festival in Easter 1984. Labelled as part of some ‘cowpunk’ scene, the band were quickly signed by Elvis Costello to his Demon label, Imp. A cover of Eric Bogle's Green Fields Of France in October 1984 became a runaway indie success, and a favourite on BBC disc jockey John Peel's show. While playing live, the Men matched their own incisive compositions with entertaining covers. June 1985's Iron Masters was just as strong, if more manic, and was accompanied by an impressive and assured debut , THE NIGHT OF A THOUSAND CANDLES. 
Produced by Nick Lowe, Greenback was less immediate, but its success swayed MCA to sign the group, resulting in Gold Rush in June 1986. The group's second album, HOW GREEN IS THE VALLEY continued their marriage of musical styles and a political sensibility drawn from an historical perspective. The Ghosts Of Cable Street exemplified these ingredients. A move to Magnet Records catalyzed perhaps their finest work, with the commercial Island In The Rain and the listenable WAITING FOR BONAPARTE. The Colours received airplay, but only skirted the charts. Fledgling label Silvertone's Andrew Lauder (who had worked with the group at Demon) signed the group in time for Rain, Steam And Speed in February 1989. Hot on its heels came SILVERTOWN. Two further singles followed: A Place In The Sun and A Map Of Morocco. 
In 1990 they recorded their final studio album, for which the personnel was increased to six, with the addition of Nick Muir. On the strength of it, they supported David Bowie at Milton Keynes. Shortly afterwards they disbanded, following a long farewell tour, and a live album, ALIVE, ALIVE—O.