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This topic has been edited. Some posts have been moved to "Lyrics Discussions: Too Much Of One Thing" and others have been moved to "The Playpen: use the lyric board". | ||
| Chris S |
Can I just echo the comments by reviewers of the Dublin gig by saying that the Barbican gig tonight was just as fantastic (and coming after a great film retrospective in the cinema). But what happened to the so-called "special guests" (unless they constituted the Liberty Belle string section)? This became especially mystifying after I saw Tracy Thorn in the foyer! Only a minor quibble, mind you! | ||
| Cassiel |
I think the special guests must have been the strings (or Tracy Thorn got cold feet and Nick Cave couldn't make it.) Gig was magical. I lost count of how many songs they played. The first set was Robert on guitar, Glenn on drums and Grant on bass and they played mainly pre-Before Hollyood stuff, apart from Make Her Day: Your Turn My Turn; This Girl Black Girl; Karen; People Say; Sound of Rain; Hammer the Hammer and a few others. Then they came back and played a set with full band, mainly last two albums. The acoustics in the hall were fabulous. Then the string section came on stage and the result was unbelievable: Grant's songs in particular -- Right Here, Bye Bye Pride, and a storming version of In the Core of a Flame -- sounded magnificent with the full string treatment (and an oboe for Bye Bye Pride). Robert chipped in with a few classics from left field, like When People Are Dead. They came back for a couple of encores, there was s atnding ovation and the night was one I will always remember. The Go-Betweens gig of your dreams! | ||
| michael |
Brilliant show as above. Highlights were the three piece start prior to intermission 7-8 songs with a killer version of Karen after Robert drop kicked a plastic cup after finishing Make Her Day and telling us this was punk rock. In the second portion which was more like another 16 songs at least, lots of the best from the last two albums and the strings were fantastic, a piano for a couple. The Wrong Road, When People Are DEad, Poison in the Walls, Bye Bye, jack and Spring Rain and In the Core brilliant. And a new Lou Reed sounding tune, called Here Comes the City, which sounded great. | ||
| C Gull |
Having been disappointed with the last two London shows, I've got to say last night was a magnificent return to form. Slightly nervous to begin with (not sure how much of the pre-BH stuff we needed), slowly the band and the audience became comfortable with the all seated theatre, the upside being the superb acoustics which really did justice to the songs (and it was easy to get to the bar!) Grant really stole the show and it reminded me again how many great songs he has contributed, Bye Bye Pride, Love Goes On, Core of a Flame were all fantastic but Cattle of Cane was even better and The Wrong Road was astounding with the strings section. I have n't seen a set list but I got the impression there was far more from Rachael Worth than BYBO (no Caroline and I) which is a good thing in my opinion! There were some odd choices in there German Farmhouse, Streets of Your Town I haven't heard them play for a while but no Head Full of Steam and nothing(?) from Spring Hill Fair. From Robert the highlights were Baby Stones and a ferocious House Jack Kerouac Built. The band seemed better rehearsed, the strings really added to the sound and the venue worked. Great night - thanks to the band. | ||
| Duncan H |
I really enjoyed the show too. As someone who wasn't aware of the band in the 1980s I was happiest to hear the late 80s "pop" songs given pride of place in the show. I loved "Streets of your town" and "In the core of a flame" in particular. The early section was less familliar to me, though I heard most of the songs once or twice before. There was a certain amount of the band all facing each other to start each song, and gradually drifting away as they were confident the song was going right. "The Girl Black Girl" - or is it "that girl", I'm not sure of the lyrics, and that sounded like what was being sung - was the highlight for me here. I loved "Baby Stones" too, the best performance of the night. It did seem as though Grant had chosen to play his "best" or at least most pop songs, while Robert had gone for a far more quirky approach. Sums up the band, I suppose. I was surprised at some of the songs that weren't played: "Part Company", "Bachelor Kisses", most of "16 Lovers Lane". And there was only one song from either set of solo albums (I was hoping for something from "Country Phone"). | ||
| Roger |
Really enjoyed last night. Thought the good acoustics made up for the lack of intimacy in somewhere so cavernous – both guitars were clear and you could really appreciate the interplay between the two. Don't particularly like being miles away from a band, but there you go. Highlights for me were 'When People Are Dead', 'Core of a Flame', 'Karen' and 'Cattle & Cane'. A little surprised at the amount played from FORW, but then some newer songs sounder better live – such as 'Too Much of One Thing' – than I'd previously given them credit. The string section was great (when they worked and their music stand lights were on!), never thought I'd get to hear some songs that way again – 'House that Jack Kerouac built', 'Bye Bye Pride, 'Spring Rain', 'Wrong Road' and so on. Seeing Grant unable to stop himself 'conducting' was cool! The band seemed really into it and played pretty much perfect all the way – would have liked a bit more banter, but then the Barbican doesn't lend itself to that. Even though they played for near on 3 hours, amazing how we're all coming out going 'Oooh I wish they'd done x or y too....' Personal regrets were no 'Apology Accepted' or 'Draining the Pool for you' but you can't have everything. | ||
| Anonymous |
It was a fantacstic show - it would be good (fantastic) if they issues the pre-show film as a DVD? | ||
| michael |
First set: Sound of Rain, Your Turn My Turn, Hammer the Hammer, This Girl Black Girl, People Say, Make Her Day, Karen. Second set: The Clock, Going Blind, Surfing Magazines, Cattle and Cane, The Wrong Road, Spirit, Love Goes On, Baby Stones, Right Here, Bye Bye Pride, Spring Rain, Streets, Jack Kerouac, Mrs Morgan, Crooked Lines, Here Comes the City, Spirit, German Framhouse, Too Much of One Thing, He Lives My Life, Poison in the Walls, When People are Dead, In the Core... Not necessarily that order for set 2. Anyone recall anything else? | ||
| Anonymous |
It was a fantacstic show - it would be good (fantastic) if they issues the pre-show film as a DVD? | ||
| Duncan H |
Re set two: It opened with "Magic in Here", and I didn't hear "Mrs Morgan" or "Crooked Lines". Are you talking about London (I am) or Dublin? | ||
| michael |
Cheers, I get a blur on the later stuff, just tried to recall what I could. Magic In Here right start of set 2. London right | ||
| Matthew |
I'm a casual fan to be honest and think there's a gulf between peak Go-Betweens songs - say, Cattle and Cane, Bachelor Kisses, Part Company, Two Steps, Dusty in Here, Apology Accepted - and the rest. I think that the idea that Grant and Robert are "great" songwriters is a bit overdone to be honest. This idea of a great song - ie stately tempo, literary lyrics, about grown-up relationships - well it's a bit thin innit? No middle eights, few proper melodies, a tendancy to speak-sing. Cattle and Cane seems to be the only song of theirs to have distict sections. The comparison to Lennon/McCartney is way off - and they'll need to start some serious work to approach, say Goffin/King, Dylan, or Jimmy Webb. So last night, with a concentration on newish songs was disappointing. For me anyway. Not that there weren't fantastic bits - Karen and Right Here. I don't mean to piss anyone off, don't know if anyone feels the same way. People will probably think "Oh, poor lamb, he didn't hear his favourites!" but I really, really think they have 8 or 9 objectively (I know, I know...) great songs and are in danger of diluting their legacy. | ||
| Duncan H |
I can see where you're coming from Matthew. But then I don't listen to the Gobs for "great" songwriting. I listen to them for the type of songs they do, which I find they do better than most others who attempt that kind of material. It may not be technically wonderful, but it has a spirit that most other songwriters/performers fail to attain, at least to my ears (the only other person/group I know that does that kind of song so well is Stephen Duffy). If someone only listened to the Gobs, and thought they were above all other types of music/song, then I agree that there was a problem. But I don't think that's the case. Anyway - you thought Karen was fantastic! To me it's a terrible song about an unhealthy stalking relationship, and last night's performance of it was positivly frightening... | ||
| SIMON ELLIS |
A GREAT SHOW AT THE BARBICAN.I'VE NEVER SEEN THEM BEFORE AND DIDNT KNOW WHAT TO EXPECT.IT WAS ALMOST TOO GOOD TO BE TRUE TO SEE THEM PERFORM MY OLD FAVOURITES LIKE PEOPLE SAY AND THIS GIRL THAT GIRL AS WELL AS THE GREAT NEW STUFF LIKE HE LIVES MY LIFE AND THE CLOCK. WHAT FANTASTIC WORK | ||
| Geoff |
Can anyone tell me what the song was called that they played after saying 'When Dylan was here in 66 he forgot to play this one'? Also, were either of the songs they introduced as new ones actually new. I guess the first one wasn't really new, but I thought the second one might have been. The gig was quality. The ones with piano and full strings were immense. And how good were the chocolate brownies? Rock n Roll!! | ||
| Anonymous |
Lookinmg at the set list i'm glad i didn't go. Why in a "career retospective" would you get so little from the great albums!! and so much from pre BH and post 16LL. Madness. Glad those that went enjoyed it though | ||
| Nic Barnard |
Geoff, the song Dylan forgot to play was "People Say," their 1978 (?) second single, which Robert often says is the greatest thing he ever wrote, and which he always said was aiming for that "wild mercury sound" that Dylan had in the mid-60s. The first "new one" was Cattle and Cane, not new at all, but their classic single from Before Hollywood. It was the first time they'd performed it with this line-up. The second song actually was new and sounded pretty good to me. It was great to hear those early songs again. I think that "career retrospective" line was rather spun by the Barbican on the basis of the re-releases. I didn't really expect it would be. Great gig, eh? | ||
| michael |
Geoff - It was People Say the dylanesque one with the cheese organ. Cattle and Cane was the song Grant introduced as a new one early in the second session, obviously not a new song. The other was Here Comes the City (later on) which I believe is new. I agree with the flyer for the show being a bit like something done on a late night hooch up. | ||
| chriss |
geoff - if memory serves the dylan '66 reference was robert's intro to 'people say'. i'm sure grant's "this is a new song" comment was before 'cattle and cane', but robert's song 'here comes the city' was certainly new to me. | ||
| jerry |
I personally don't recall 'going blind' being played at all, am I alone in this? They saved the best song for last, particularly for the strings in 'core of a flame'.There was something of a wall of noise from 'house Jack Kerouack built' which was heading towards something Kevin Shields would consider OTT. | ||
| jonathan |
I think the set went something like this - the order might be wrong, but I can't think of anything that's missing: 1st set (Robert, Grant, Glen): The Sound of Rain Your Turn, My Turn It Could Be Anyone People Say (with Adele on keyboards) Hammer the Hammer This Girl Black Girl Make Her Day Karen 2nd set (Robert, Grant, Glen, Adele): Magic In Here Poison In The Walls Surfing Magazines Baby Stones Cattle and Cane The Clock Spring Rain Here Comes The City Too Much Of One Thing He Lives My Life (with strings) The Wrong Road (with strings, Robert on piano) Right Here (with strings) Love Goes On (with strings) The House That Jack Kerouac Built (with strings) -- Spirit German Farmhouse (with strings) Bye Bye Pride (with strings) -- When People are Dead (Robert on piano) Streets of Your Town In The Core Of The Flame (with strings) Jonathan | ||
| michael |
Thanks Jonathon. My head was swollen, I embellished the list. | ||
| jonny |
I didn't enjoy it all that much. I'm probably being harsh but I felt Grant was singing along to his own songs rather than singing them, if that makes sense - his timing seemed slightly out. I've enjoyed Robert solo gigs much more - that's not to say that I'm not a fan of Grant's stuff. The venue is not suited to rock n roll. Most bands would suffer there - did anyone else think it magnified the GBs short-comings? I've never really missed the other GBs as the new stuff has kept the band fresh, but as this was billed as a retrospective of their career it seemed a shame Robert Vickers and Lindy weren't there - it would be wrong not to celebrate their contributions. Did it take a string section to replace Amanda?I guess there are various reasons why they weren't involved. I dunno why I felt so negative about this performance - perhaps it was just the Barbican and the rain. I do love the GBs. | ||
| Anonymous |
The Astoria gig last year was better probably due to standing rather than sitting (which is a bit prog isn't it, Maan ?) So many great songs which they clearly still enjoy playing. The sound near the front was a bit muddy and when they were both on electric it got a bit "clangy", those further back probably got a better acoustic. Also coudn't see Rob when at the Piano. Minor quibbles though. The highlight for me was The Wrong Road,which was awesome. As these songs are so familiar to me I never thought I'd actually "hear" them again if you know what I mean. I took my 17 year old daughter whose childhood has had the GB's (amongst others)as a musical backdrop, she's not stopped talking about it. I have a sinking feeling that they won't be back, does anyone else feel that ? It felt a bit like Goodbye. Where do they go from here ? | ||
| allan |
I'm really envious. The Go-b's havent played here in Los Angeles in years. Tell me, what was Robert wearing? What guitars did they play? Anyone take any photos? | ||
| James |
It was a thoroughly brilliant concert. The first set of early songs was the highlight, though hearing great great versins of Spring Rain and Cattle and Cane was also special. As others have alreay mentioned the sound was perfect (which more than makes up for having to sit down). One minor quibble were the annoying people in front of us who practically shouted to each other all the way through every song. Trivia: I'm pretty sure Isaw the band in a long white limousine at about 6.45. Saw Luke Haines from The Auters in the audience. | ||
| rotbowie |
Having gone to the Dublin show I feel like I missed the real party in Londinium. Was the show recorded, Film/Video and or sound? It would be nice to see/hear this gig. Sounds like it would make for a nice new live album???? please let me know if u have info. rotbowie | ||
| Mark |
I was on the front row of the balcony and there were a couple of mikes at either end of it pointing into the crowd. Don't know if this indicates that they were recording the gig, or if the Barbican always has them there. Enjoyed the gig, but I usually smile more when watching the GBs. | ||
| Catherine Vaughan |
Know what you mean about smiling watching the GoBes. I think I pulled a muscle in my left cheek! (FACIAL...) Still jealous of all you lucky sods who were at Barbican. Was very tempted to head to Dublin Airport straight after the gig, and get a standby flight. Bought all round me CD-wise, including the previously unreleased 78-79 stuff. Been overdosing on Lee Remick, a song I hadn't heard in about five years... | ||
| Tim C |
I travelled the 200 miles or so down from Yorkshire, set off in plenty of time but got caught up in the traffic for 2 hours crawling into London from the M25 onwards. Extremely frustrating stuck in a traffic jam with the rain pelting down watching the clock get closer to 7.30pm. I finally arrived at 7.50pm - the band were already playing. In the foyer there were TV's with a band playing, I didn't stop to study closely as I'm sure you can appreciate, but I'm nearly sure it was them, the songs were clearly audible and maybe the concert was recorded. Once inside I looked out for video cameras and could see what looked like two either side of the stage fairly high up. These were not taking the pictures on those displayed outside as those showed the whole stage from a distance face on. My own feelings about the concert was that it was worth the trip even if I missed the first couple of songs. Having only seen them outside of London before, they seemed more relaxed and both very happy to talk to the audience. And what a set, it seemed unreal. Having first heard some of these songs on vinyl 20 years ago, I never thought I'd hear them played live, at least not so many at once and they still sounded so fresh. It was great to have the strings there but for the most place those involving fewer instruments sounded clearer and less cluttered live. Roberts rendition of When People are Dead was a highlight for me, I don't think he'll be carrying that piano with him next time he tours in these parts!. At one point I thought I was amongst a Radio 3 audience as I could hear someone shushing the few hecklers to be heard. | ||
| Peter Collins |
I too missed a bit thanks to baby-sitter problems (how rock 'n' roll is that?) and sat down just as the first set finished (much to the amusement of the woman who I had to practically lever out of my seat), but I'm not a massive fan of the earliest stuff. But I thought what I saw was brilliant - but I may just be saying that because I saw/heard The Wrong Road for the first time live and practically wet myself in ecstasy. | ||
| James |
Does anyone else think that the inclusion of Make Her Day in the opening set was a deliberate reference to David Nicholls' asserion that the song is closer to the bands early songs and had it been written back then it would have been a hit? Also, how great was 'Here Comes The City'. Nice to see Grant playing electric too, it made a big difference to 'Spring Rain' to hear the guitar parts. | ||
| Fitzer |
I love "Make Her Day", but I didn't think it worked without RF and GM on electrics and Adele on bass. An earlier posting observed that the concert seemed like a farewell, but as the new song -- what were those references to Dostoyevsky? -- shows, there is more to come! Isn't there? | ||
| Peter Ward |
At the Vicar Street show Robert did mention looking at a brochure for recording studios in Mullingar (probably Grouse)as a possible venue to record the new album. He also mentioned recording "Here comes the city" in London soon. I thought it was one of the strongest songs played, very "Life During Wartime", it wipes the floor with any recent single and most album tracks..healthy. | ||
| Mike |
I was at both shows over the weekend, and I thought the Barbican was massively better than Vicar St. The sound was far better, the addition of the strings and oboe was a huge bonus, and the sense of enjoyment of the band themselves was far greater in London. In fact, Dublin came across as a bit of a dress rehearsal - especially as there seemed to be a lot of people present who were more interested in drinking or chatting than enjoying the band. The set-list in Dublin was exactly the same as the bulk of the Barbican concert, right down to song order, except for the 3-piece "early work" section, none of which were played in Dublin. "Make Her Day", which was part of the first set in London, was in the encores in Dublin, and "Spirit", first encore in London, didn't get played in Dublin. All told, I thought Dublin was an okay Go-Betweens gig (i.e. miles better than most experiences open to law-abiding human beings), and London was a fabulous night. Robert definitely seemed off-form on Saturday, and while he seemed to have a moment or two when things went awry on Sunday, he was far more himself. Another posting suggested he had suffered food-poisoning - sounds plausible! "When People Are Dead" was muddy and half-hearted on Saturday, magnificent and beautiful on Sunday. If any of the band or anyone involved reads this stuff, I'd just like to say thanks a million. Mike | ||
| pherron |
Well html code doesn't work onthis page  | ||
| pherron |
Good lord, I'll get this right in the end!!! URL removed pending permission. | ||
| pherron |
I'm not trying to upset anyone or be controversial. I'm happy to shut up & go away. But I read this in the 'Announcements', dated 26 January 2004: "As before, the board remains unmoderated, uncensored and does not currently require registration. It is hoped that it can remain this way." It appears that this isn't quite the case. I quite understand if the message I posted wasn't welcome here. I think that's reasonable and I understand why, but it does suggest the board is moderated and censored, and pretty quick too. Sunday night was fantastic by the way. | ||
| Cam |
Go on give us a clue? What was the offending post about? | ||
| Dusty |
How does one make those little smiley/sad faces? | ||
| pherron |
Smiley faces are easy : with ) next to it. When you post it you get  My post was about a bootleg. Hope I won't get censored for telling you that. It's no problem if this site wants to discourage such things - I think that's fine, but I think the admin should be more explicit. I seem to remember a tree for the Botany Sessions on here, but don't remember any problems with that. | ||
| cam |
well, for my part I would be very interested in a bootleg of the Barbican show if it is planned for official release then cool, leave it if not... well, s'yer own fault | ||
| Randy Adams |
I traveled from California to London for the Barbican show and found it to be totally worth the effort. The early set with Grant on bass was a brilliant touch, especially for folks like me who never saw them back then. "Sound of Rain" was a very cool choice for an opener and they made "Your Turn, My Turn" sound positively regal. I got a kick out of Grant's bass-as-lead-guitar. The addition of the strings was a masterstroke. I too rate "The Wrong Road" as among their very best moments on record. "Here Comes the City" sounds promising if that's what they're up to next. I loved being able to sit down in a decent seat like an adult. I'd been trekking around Paris and London for ten days by the time of the show and I would not have been too keen on pushing my way toward the stage in a SRO crowd. My companion was a friend I'd given a partial introduction to the band via copies of 16LL, "Rachel Worth" and BYBO. Thus he hadn't heard many of the 80s era classics. He was very impressed by "Cattle and Cane." I was surprised by the fact that they only did two BYBO songs but was okay with it because I saw them in Paris last year where they did nearly the whole album. Btw, while Grant seemed to be phoning in his performance last year in Paris, he was very much engaged at the Barbican and I really appreciated that. I heard people call for "Part Company" and "Rock n Roll Friend" which I also agree would have been really great to hear, but I'm thrilled with what did get played. I loved the surprises like "When People are Dead." And I'm glad that none of my GoBee worship time was wasted by Nick Cave or anybody else I didn't travel halfway across the globe to see. | ||
| Jimmy |
Here is the link to the Guardian review June 29 http://www.guardian.co.uk/arts/reviews/story/0,11712,1249448,00.html | ||
| Nigel Wheatley |
Perhaps it was because I got stuck in traffic on the M1, and was severely stressed by the time I'd charged across London and arrived some thirty minutes late at the Barbican, but something felt wrong, I can't put my finger on it. Most of the songs sounded great, particularly with the added strings, although little excitement seemed to be generated. Perhaps, as already suggested, it was simply the venue. It all seemed a bit too refined and proper for the Go-B's. I think I'd rather have seen them in a small, sweaty, club. I did see them twice in the eighties at such venues, and they were quite brilliant, so maybe this was just an anti-climax for me. I haven't been that impressed with the two new albums, too safe, and, well, boring. But "Here Comes The City" sounded much better, with a noticeably harder edge to it. Let's hope there's more to follow. Sorry to be a bit critical, but us Go-B's fans are perfectionists, aren't we ? | ||
| Guy E |
I am sitting herer in NYC and I am jealous. | ||
| david nichols |
That Guardian review was bullshit - or at least very badly written: 'expat Australians'? The writer obviously doesn't know what 'expat' means, probably thinks it means 'erstwhile' or something, and 'three quarters of original string section' - what on earth??? | ||
| pherron |
'three quarters of original string section' I guess the reviewer was a little confused, as Robert introduced them saying that 3 of the 4 people in the string section had played on the 'Liberty Belle' recording session. | ||
| Pete Azzopardi |
David, you're such a Fastidious Frog! | ||
| Cassiel |
Go easy on Dave Peschek, David. The guy has good taste, and perhaps the gig was so intoxicating it was hard for him to write or think straight. By the way, David might be interested to know (if he wasn't there) that Robert referred to 'Too MUch of One Thing' as having an alternative title: The Ballad of the Go-Betweens. This fits what you say in the book; that it's a disquisition on their respective lifestyles. I have to say I have listened to this song many, many times and I don't quite get the references, other than 'potions and pills' line being a reference to Grant's refuelling habits maybe? Anyone care to put a theory forward? When Grant says, 'there are those who despise me....I've always been a target' is he being literal. I have heard he's quite an unpopular lad among some. One other observation about the gig: two songs I had never really rated that much made a big impression: 'Jack Kerouac' was immense, it made far more sense live; and 'In the Core...' was one of the most stunning things I have ever heard. The bit at the end -- when the strings soared, Grant had his eyes shut in ecstasy, and he sang the line about 'will you hold me just like a pearl, and will you keep me safe from the world' almost had me bawling like a bay. Only almost though. Boys don't cry. ahem. | ||
| michael |
Cassiel - I thought Too Much of... was referred to as the battle of the go-betweens, but I could be wrong, but maybe this makes more sense. Agree that Jack was close to the song of the night, the sound was incredible, it was a beautiful wall of sound , "keep me away from her" and the strings around this bit towards the end, it seemed the whole Barbican was on the road. | ||
| C Gull |
I think Too Much of One Thing is a great song and have suggested on a previous thread it is THE central song on BYBO. My impression is that it is all about getting older, how you crave disorganistion and variety (reference to Spring Rain?) when you are young then realise that as you get older a little organisation helps - that great bit about waking up feeling you've walked a hundred miles and what used to be simple now comes in a hundred styles. This is a song for the grumpy young men generation as depicted in the BBC series last year. Having said that - I don't understand the Grant bit about being despised and lead on a ring? I'm sure Robert said Ballad not Battle. | ||
| Duncan H |
I must admit that I hardly get any of the "autobiographical" references in the Gobs songs. Even after reading in the book that many of the songs are, I don't see it. Maybe someone could spell some out for me... | ||
| michael |
CGull, I'm going to listen more to the song then give you a reply. I don't know it as well as you do. I speak Australian, so I thought i heard battle, but it doesn't matter, ballad is ok with me. | ||
| Dusty |
I can do it! I can do it! How do you do a sad one? Or a stoical one? | ||
| pherron |
: ( = No idea on stoical though! | ||
| michael |
:l | ||
| casteberg |
Hey Pherron If those boots are still up, please send me a link at casteberg@yahoo.com | ||
| pherron |
My pleasure | ||
| jerry |
If the admin for this mailboard are uptight about bootlegs, does that mean a live album/dvd release is imminent? | ||
| casteberg |
Thanks pherron. Downloading now. | ||
| jerry |
Helo Pherron, would you mind sending me that link at unclejel@aol.com | ||
| cam |
Hi Pherron If possible? cam.docherty@blueyonder.co.uk | ||
| kdm |
er...me too? please? loegend@yahoo.com | ||
| fw |
please? funnellwebb@yahoo.com | ||
| casteberg |
Pherron Excellent recording, really good quality. And it was nice of the crowd to stay so quiet for you - much more so than in Dublin. Thanks again | ||
| Padraig Collins |
I agree with David, that Guardian review was abysmal. Not only is the writer, David Peschek, lacking in knowledge of The Go-Betweens, but he comes across as such a try-hard too, using big words to prove what a vast vocabulary he has (never mind that it adds nothing to an understanding of what the gig was like). A pity, because Peschek's reviews in Uncut are usually quite good. Maybe he felt he had to use fancy talk for The Guardian. | ||
| Hamish |
Pherron And me.. please... hamishwalke@yahoo.co.uk | ||
| jonathan |
The Go-Betweens' management have asked me to post the following message: "Please tell the the chat room, and specifically Mr Peter Herron, that it is not the website admin that have requested he stops supplying bootleg recordings but the band's management." Feel free to email me if this is not clear. Jonathan | ||
| Catherine |
Jonathan, any word from their management as to whether there's an official release planned??? | ||
| pherron |
No need for email - I think that's clear, Jonathon. Lordy, I've upset the management. | ||
| Dusty |
:- Happy: stoical: sad | ||
| Geez |
At the risk of pissing some good folk off, can I say that in my humble opinion the gig at the Barbican wasn't that great? I think it was largely down to poor sound engineering, which is such a shame as the Barbican is considered a top venue for classical stuff 'cos of its supportive acoustic. The balance was way off over where we were and for all we knew he could have been miming at the grand piano. And it was too loud.. bah, must be getting old. Previous gigs at the Astoria and the old T and C wupped the arse off this offering... Thanks, feel better now! | ||
| Geez |
At the risk of pissing some good folk off, can I say that in my humble opinion the gig at the Barbican wasn't that great? I think it was largely down to poor sound engineering, which is such a shame as the Barbican is considered a top venue for classical stuff 'cos of its supportive acoustic. The balance was way off over where we were and for all we knew he could have been miming at the grand piano. And it was too loud.. bah, must be getting old. Previous gigs at the Astoria and the old T and C wupped the arse off this offering... Thanks, feel better now! | ||
| Simon |
Although I loved the Barbican gig I had my doubts about the sound too.It may have been due to where I was sitting or because I have eardrums that are 46 years old and damaged but I thought the Bass was too loud and the strings too quiet and the whole thing a little too loud. My eardrums hurt for the next three days. But they were too fantastic for this to bother me | ||
| michael |
Sounds like the sound varied depending on where you sat. I was in the circle nearer to one speaker section, but other than an awareness that I had lost a little of the stereo effect (which you wouldn't notice you were missing if you'd been at many other venues) I thought the sound was great. Initially thought the drums were too soft at the bottom end. Perhaps Grants vocals were too soft as well in parts of the show. I've seen them 4 times and this was by far the best gig. The REM tour in Australia was great as well but I think this was pretty special. | ||
| Jerry |
Michael: No, it was definitely 'Ballad of the Go-betweens' | ||
| Randy Adams |
Gee, I'd just like to discuss the Barbican show. I can certainly understand the band's management's disapproval of any bootlegs and I have no intention of acquiring same, but it would be awful nice if the band issued a sanctioned recording of the whole show. This would address the sound quality issues that some people reported (I too found the sound to be a bit messy and I could not hear the piano at all but I just put it down to the fact that the GoBees aren't some mega-buck major label attraction with a super sound budget). And I'd really like to hear their versions of "The Sound of Rain" and "Your Turn, My Turn" again. There was a positive grace to the latter song which did not exist on the original version 20 plus years ago. | ||
| cam |
Reading between the lines, I guess that might be on the cards. While I undertsand the whole intellectual property argument, what harm would there be in a bootleg of a "special one-off" type show when most fans couldn't get to it? The band lose nothing unless they were planning to release the show. By the way, the bootleg, which I have got for shame, is decent memento of the gig but is going to stop NOBODY buying an official release believe me. No criticism of Pherron, who I am sure would make it unavailable if it became an official release, but its a microphone pointing at a stage. | ||
| Alfred |
I value debate as much as the next chap, but name-calling and point-by-point rebuttals are unnecessary. It was suggested that I take my argument to the Lyrics section; I completely agree. After all, the heading for this site is "Barbican no show." Getting back to the topic at hand, I sure wish the Go-Be's would put out an official live action sometime soon, even if it's to fulfill "mere" contractual obligation. They've certainly earned the right to release one. | ||
| cam |
Alfred a very dignified post there I think. I agree about the live album | ||
| Catherine |
So Barbican was good then? Would have loved to hear the string section. Hopefully they'll release it in some format, preferably DVD. | ||
| Mark Ilsley |
Andrew: I wanted to ask those present at the Barbican show, who played the guitar solo from "Streets of Your Town" and how did it sound? | ||
| Anonymous |
A message actually about the Barbican show on this thread! And from Mark! Robert played a solo, but far from "the" solo. I've never thought Robert could play lead guitar and contributes very little to Grant's songs; although he does seem to exercise some quailty control. I'd hoped for some, promised special guest to come on for it; thought Roddy Frame might have stepped in. and this is only anonymous because i can't remember my username | ||
| Jerry |
I don't agree that Robert can't play lead guitar. The first set at the show had some brilliant playing, most notably by Robert on 'sound of rain', which is a favourite song from the 'Lost album' for me. As was pointed out in David's biography, Robert has never claimed to be able to play guitar properly. Which is why the Go-b's sound is accomplished to a degree, but has the spirit of punk, making it unique. | ||
| Randy Adams |
Yeah, if you are seeking guitar gods, the GoBees are definitely not the place to look. Personally, I don't enjoy listening to guitar gods. I like listening to songs with relatively straightforward arrangements created out of relatively simple individual components. Even the most sophisticated of the GoBees' songs fit into this mold. | ||
| Jerry |
I'd feel very disillusioned if Go-b fans turned out to be the type of people who like Joe Satriani and Robert Fripp, with their instrumental live shows. Awful!!!!!! | ||
| Anonymous |
No, complete misunderstanding. Robert plays wonderful rhythm guitar, and the GBs sound was based on his and Linda's rhythm and Grant's lead bass, and that sounds as good now as it ever did, the opening set was wonderful. Mark asked who played John Wilsteed's part on Streets of Your Town. It's a very difficult guitar part. Robert had a go at it, and wasn't very good. I then wondered what it is Robert brings to Grant's songs. Grant plays "relatively straightforward" melody lines for Robert and I don't think Robert's songs would be as good without them. Roddy Frame is hardly Robert Fripp, he's the only musician I could think of who might have been able to play the lead part, other than John Wilsteed, and Roddy could well have been a guest at the show. I have no idea who Joe Satriani is. | ||
| Randy Adams |
I have no objection to Wilsteed's solo on "Streets." I agree that Forster plays great rhythm guitar. Oddly, I can't remember what his lead break sounded like on "Streets" at the Barbican. Either I wasn't expecting much or I couldn't quite hear it--I was just thrilled with the show in general. But all he'd have to do is strip it down by leaving out some of the notes. I'm perfectly happy with the simpler lead fills done by Forster or McLennan. My idea of the perfect GoBee lead guitar is the lead work on "Part Company." It's simple but thoroughly musical. The question of what Robert brings to Grant's songs is interesting. I assume that he does bring something to them. He certainly played them at the Barbican. But I've never really thought about what role he plays on the recorded versions. Perhaps he introduces a little bit of "edge" to them. | ||
| Alfred |
I'm curious: who played most of the lead guitar at the Barbican show? Or did one solo while the other sang his song? I assume it's the latter, since it's difficult for a guitarist - much less perfunctory ones like Robert and Grant - to sing and play lead at the same time. | ||
| michael |
In defence of Mark. There's a guy on another thread called Mack who has put out a unifying theory on the go-betweens lyrical affect, all be it mathematical rather than Literary or Jungian or Teleological (theories Mark has become bogged down with, and thinking about it - I do wonder if Mark takes his laptop to the can for those climactic crucial insights) When he talks of a unifying theory being the way forward I'm sure he would agree with Mack that Pythagorus and his triangle are not to be underestimated. Three sides, three dimensions, time travel and space, non-cartesion world, come on feel the love. The triangle may not be flat. What do you reckon Mark - it fits. It fits in. Re RF lead guitar. Best work I've seen from him at the Barbican. Particularly Hammer the Hammer and Sound of Rain. I've always enjoyed working out songs on the guitar and the GoBs are hard to play on one guitar as a solo strummer, I'm not sure why (Pete, I'm sure you've got a stance on this?) but the 3-4 pieces (instruments) are completely dependant, which makes a difference to a lot of pop which is strummable. This is like the red hot chili peppers (not that I'm a big fan) but you can't just strum many of them if you're an average guitar player like me. | ||
| cam |
i thought robert was really playing well at the Barbican, for sure but I would have to listen to my bootleg to verify... argh what do I do???...ooooh crumbs!!! | ||
| Nicky |
Ahhh go on Cam you know you want to, aww go on go on go on (in the Style of Mrs. Doyle from Father Ted) | ||
| Nicky |
Go on go on go on | ||
| cam |
"feck off cup" | ||
| Nicky |
AHHHHH go on go on go on Cam, will ya not just have a little cup of tea now? PS I have the bootleg Father Ted tapes... email me....... | ||
| Mark Ilsley |
Cam: It means "Anything Go-Betweens". "Illegitimate use" is likely to include theft. It isn't my role to define for this board what "Illegitimate use" is, but I do know that I reguard theft to be an illegitimate use. | ||
| Randy Adams |
This thread's gotten awful long. I'm wearing out my "down" button to see the latest entries. How about starting on a new one, titled something like Go Betweens Fans Design an Animal? |