| Author | Message | ||
     Alfred Unregistered guest |
Pardon me for blowing my horn, but here's my review of the Go-Be's reissues. Robert Forster and Grant McLennan are my kind of guys. Thoughtful, wary, bemused, these are men who have known love and lost it, kept their humor, scribbled earnestly in their notebooks and then reconfigured their experiences in songs as wise and deep as their friendship. At their frequent best Forster and McLennan combine the Beatles of “She’s Leaving Home” with the Beatles of “Eight Days a Week”: at once baroque and ecstatic. Their songs honor the complexity of their emotions. What’s remarkable about the Go-Betweens is what Eric Weisbard correctly called their knack for “simultaneously evolving as songwriters and as people”, little by little. Forster, nominally in charge at first, was a (very) poor man’s David Byrne until his partner’s melodic smarts loosened him up. Right up through 1988’s 16 Lovers Lane they never recorded a bad album. But they could never get it exactly right either—they were more comfortable with strumming than rocking—and this is why fans disagree about what to recommend to a prospective cultist. When your songs honor the complexity of your emotions, they’re going to be uneven or just plain embarrassing on occasion. Then there’s the disarming modesty of what’s known as the Go-Betweens Dictum: ten modest tunes, on albums no longer than forty minutes, five songs apiece by Robert Forster and Grant McLennan, a plan to which they’ve adhered over the years with a concentration verging on the devotional (brevity, according to Forster and McLennan, isn’t just the soul of wit: it’s the heart and brains, too). Beginning as a folk duo with an uncommonly sunny disposition—in retrospect the first sign that there was something strange about them—Forster and McLennan added stalwart drummer Lindy Morrison to record 1983’s breakthrough Before Hollywood; McLennan moved to putative lead guitar when new bassist Robert Vickers joined in 1984; and the classic lineup was complete in 1986 with Amanda Brown adding crucial support on violin, oboe, third guitar and harmonies. Jetset completes the remastering job it started two years ago, releasing the Go-Betweens’ last three (and best) albums. The results are stunning, enough to give Rykodisc enthusiasts pause: rare photographs, intelligent essays and liner notes by contributors jazzed by the opportunity to discuss their heroes, and choice B-sides by a band confident enough to discard terrific songs left and right. Most fans consider Liberty Belle & the Diamond Express the Go-Be’s best. While it’s certainly their most ambitious (strings! bassoons! Tracey Thorn!), the strain in creating a Great Album is hell on Forster and McLennan’s modesty—always their greatest gift. “The Wrong Road” and “The Ghost in the Black Hat” show that McLennan’s starting to read (and believe) his own reviews. The remastering improves the original album’s boxy sound; “Spring Rain” finally swaggers instead of plods, as it always should have. The shimmering “Bow Down” is Forster at his most gracious (“don’t you ever slow down”), “Head Full of Steam” his most sexual. And “Apology Accepted” deserves to be blasted from every John Cusack wannabe’s boom box. In a pinch Tallulah stands as their most representative album: alternately breathtaking in its acuity (“Bye Bye Pride,” “Hope Then Strife”) and its gaucheness (the notorious “Cut It Out,” a terrible stab at Hall & Oates funk)—no wonder your friends “can’t get into them”. The remastering does wonders for the dated production; you can make out the acoustic strum in “You Tell Me” and Amanda Brown’s harmonies everywhere. McLennan’s writing is at its heartbreaking best: being at the wrong end of a love triangle has rarely been dissected as mercilessly as in “Someone Else’s Wife”. The opening line of “Spirit of a Vampyre” (“I was slowly dying in a clinic outside L.A.”) ushers in the persona Forster plays to the rafters on Tallulah: the observant litterateur (“The Clarke Sisters”) who’s also an unabashed sentimentalist; his breathless “Come on! Come on!” at the end of “You Tell Me” is the most endearing moment on any Go-Betweens record. In his liner notes to 16 Lovers Lane, Andrew Male calls the album “the indie Rumours”, a comparison which strikes me as inaccurate. For one thing, Lindy Morrison isn’t Mick Fleetwood—or, rather, the drum machine that takes her place on most the album’s tracks isn’t. Airy, fragrant as a sea breeze, with Brown’s instrumental work at its rococo apex (the oboe solo in “I’m Allright” is just beguiling), 16 Lovers Lane is the pop album the Go-Betweens had always threatened to make. New bassist John Willsteed’s flamenco flourishes tickle Forster’s muse, which at long last unleashes the melodic sensibilities he’d previously quashed; it’s the first Go-Be’s album on which his songs best McLennan’s. “Clouds”, “I’m Allright” and especially “Love is a Sign” are as precise as the best lyric poetry. McLennan, comfortably dating Brown, comes off a bit complacent; two of his tracks (“The Devil’s Eye” and “Was There Anything I Could Do?”) are best described as boilerplate. But then the quiet heart of “Quiet Heart” skips a beat, thanks to Forster’s great harmonica solo, and “Streets of Your Town” is one giant hook, big enough to hide the battered wives and butcher knives. The B-sides are a mixed bag, as B-sides tend to be. Not one of them would have improved the original albums’ track sequence, but several deserve place on your Go-Betweens mix CD: the rock and roll wife lament of “Rock and Roll Friend”, Forster’s death reverie “When People Are Dead” and a welcome return to the anger of yore on McLennan’s “You Won’t Find It Again’, as bitter as his 16 Lovers Lane songs are soft. Like any good relationship loving the Go-Betweens is as much exhausting as rewarding; these three outstanding albums are the place to start making their acquaintance. | ||
| Marcus Unregistered guest |
Lovely review Alfred, but these LPs weren't compiled by Jetset in any shape or form. They were complied entirely by Lo-Max Records in the UK and were only manufactured in the USA for that market. | ||
| Cassiel Unregistered guest |
Nice review Alfred. Can I disagree about, um ,lots? Actually, two things; The Wrong Road as evidence of Grant believing his own reviews? Can't have that. Always believed it was an authentic song of self-doubt and regret. And, though my limey brain is not entirely sure what a boilerplate is and what it means in this context, I feel it is an inadequate way to describe the gorgeous, heart-bursting sigh that is The Devils'Eye. I take your point about Tallulah and the difficulties of introducing the band to friends. I recall driving a friend and Go-Betweens agnostic many years ago and put a tape of Tallulah on. He talked over it all the way, but fell silent during Cut it Out. I thought he was about to slag it off, but when it finished he said: 'That was magic. Who are this lot?' But then he did once admit to liking Howard Jones... | ||
| Alfred Unregistered guest |
Marcus: Jetset Records DID reissue them in the U.S. (I'm looking at the reocrds now). I don't know about elsewhere. We'll agree to disagree, Cassiel: to me "The Wrong Road" is static and "literate" in the wrong ways. As for "The Devil's Eye," it's too facile, too easy, especially after the stunners Grant wrote and recorded for "Tallulah." | ||
| Marcus Unregistered guest |
I did not say they didn't release them Alfred. I said they did not compile them. i.e they did not "complete the remastering job it started two years ago". They were not involved in the creative process. | ||
| Randy Adams Unregistered guest |
I love Cassiel's story about playing "Tallulah" to a friend. What a magnificent irony. I am also of the opinion that "The Wrong Road" is a standout. I am particularly taken with its music and arrangement. In some ways, it reminds me of the awkward grandeur of some of the Easybeats' best experiments in 1968. I also love "The Devil's Eye" which is fairly classic McLennan. On the other hand, I totally agree that "Was There Anything I Could Do" is boilerplate which means, to Americans, "fill-in-the-blank" or generic. Grant would bore us again with nearly the exact same song called "Lighting Fires" on his second solo LP. I'm pretty sure I've seen at least one person point this out before on this board. I must say I view Robert Forster's contributions as the better part of "Tallulah." It's really fun to see how differently we each experience these wonderful records. | ||
| Padraig Collins Unregistered guest |
Was There Anything I Could Do is OK, but I was very surpised when it was used to promote Bellavista Terrace. I think Lighting Fires is better, certainly not boring. I don't think it ever occured to me that they are essentially the same song, though now that you mention it, yes they are! | ||
| Alfred Unregistered guest |
"Lighting Fires" is the better song, because the arrangement is fantastic: the piano, harmonies, etc. | ||
| Alfred Unregistered guest |
It has been wonderful rediscovering these records. I'm especially gratified by how "Tallulah" has been rediscovered and reevaluated as the great, flawed record it is. | ||
| Michael Bachman Unregistered guest |
I agree with Alfred regarding "Tallulah". The remastering does do wonders for the dated production. It's the most improved of the six remastered albums. I used to rank it bellow 16LL, Before Hollywood, Liberty and even Spring Hill Fair. Now I rank it as my second favorite behind 16 LL. | ||
| lindy morrison Member Username: Lindymorrison Post Number: 15 Registered: 09-2004 |
Tallulah is a much better album than 16 LL for mine, but out of interest how is it flawed? | ||
| Kuba Unregistered guest |
100% agree with Michael Bachman. Tallulah has certainly grown on me after this reissue, earlier ranked as nr 4 maybe (now also second to 16LL). "The House Jack Kerouac Built" and "Bye Bye Pride" - no competition as the best two songs in a row on a Go-Bees album, that's my opinion. And don't forget "Hope The Strife", a fantastic one, probably the band's best album closer. The second thing I reckoned lately is how anthemic Grant's songwriting on "Tallulah" actually is. Probably only "Someone Else's Wife" isn't that kind of song really, the rest of the choruses has the extraordinary (even for this guy), universal, powerful melodies. Anyone would agree on that? | ||
| Randy Adams Unregistered guest |
Interesting. I favor Robert's songs on "Tallulah." All of them. From the laconic "You Tell Me" right on through. He didn't come up with anything like "Cut It Out" and, for me, "The Clarke Sisters" is perfectly realized. As for Grant's songs, there's nothing to dislike about "Right Here." And I also appreciate "Bye Bye Pride" although I seem to always enjoy his live performances of that song more than the recorded one. "Cut It Out" we all seem to agree on. But now I will get myself in trouble: I find both "Someone's Else's Wife" and "Hope Then Strife" to be a bit overwrought. | ||
| Alfred Unregistered guest |
I can understand how "Hope Then Strife" and "Wife" might seem overwrought - especially the former. But the details - musical, lyrical - in the former are mighty strong. I completely agree, Randy, with your take on Robert's songs: "You Tell Me" and "I Just Get Caught Out" are rarely cited on this board, and they're terrific pop songs. Lindy: In its mix, sequencing and song selection, "Tallulah" seems like a bid for 1987-style mainstream acceptance; in that regard it fails, but it's still my favorite Go-Be's album. | ||
| Pádraig Collins Unregistered guest |
I adore Bye Bye Pride and used to regularly play it on the radio when I did a weekly show. I would always sing along with it off-mike too as it has such a joyous melody, and one time I back announced it by excitedly saying: "Woo-hoo, who says the oboe doesn't belong in rock n' roll? It sure does." | ||
| Dusty Unregistered guest |
I can't really put my finger on it either but "Tallulah" seems to have become my favourite as well. I was listening to it last night on headphones while putting the chickens to bed (somehow managed to make it a 40 minute job much to the 'chagrin' of my wife). I definately think it's partly the remastering job which has made the songs sound errm better (sorry,not very technical). I've always loved Forster's songs on the LP but I have come to admire 'Someone else's wife' and even, hate to admit it, find 'Cut it Out' inoffensively pleasant. The only song that irritates me, in line with Randy is 'Hope then Strife' - it's just the bloody chorus drags on without Grant gulping for air - can't listen to it without being irritated espeically when he goes up an octave (or a quaver?)near the end. I think I've come to love Tallulah though because it's a fantastic mess and ultimately endlessly fascinating. Lindy, I'm interested to know why you think it's a much better album than 16 LL though. | ||
| Peter Azzopardi Member Username: Pete Post Number: 32 Registered: 09-2004 |
Yeah, "Hope Then Strife" is a bit rotten. Key changes are a cheap grab for emotional climax, and then the backing harmonies that come in are off pitch anyway. I personally don't find "Wife" overwrought though. I never tire of this song and it always finds its way, along with "You Tell Me" and "Bye Bye Pride", onto my mix tapes for Go-Bs inductees. Lindy: it's hard to say where "Tallulah" fails for me. Great songs (not as good as on LBATBDE or 16LL though). I've noticed it's the only album I get a bit embarrassed by when I play it for friends--though that probably says more about me than it does "Tallulah". | ||
| JohnD Unregistered guest |
Hi Lindy, I would agree with most of the comments made about the songs on Tallulah but cannot agree with you about it being the best album. For my money that honour goes to 16LL for the overall quality of the songs from both Grant and Robert on that album. Are you talking from the drummers perspective relating to Tallulah. From my untrained ears there seems to be more "real" drumming on the Tallulah album then on 16LL, which seems to have a lot more in the way of drum machines on most tracks. Can you give us an insight into this point -was there a major difference recording Tallulah and 16LL -that would be interesting to read. It is also worth mentioning that from recent posts on this board it looks like the reformed GBs are going to record again with Mark Wallis the producer of 16LL -that will be interesting after all these years. So I will have to pitch for 16LL in the end as the most overall consistent GB album pre reformation of the band. | ||
| Alfred Unregistered guest |
John D: according to the GB's biographer David Nichols, a drum machine did replace Lindy on several tracks. | ||
| Cichli Suite Member Username: Cichli_suite Post Number: 21 Registered: 08-2004 |
Correction, Alfred: A drum machine may have been used, but Lindy was never replaced! | ||
| gareth Unregistered guest |
The 2 gripes i (used to) have with 'Tallulah' was around the sound/mastering and the track listing. My originyl vinyl and cd never sounded good, both sounded very muddy. The new release has improved this beyond belief, as a number of others have mentioned here. Tracks like 'I Just Get Caught Out' and 'Spirit of a Vampyre' sound fantastic now, a lot more depth to them. As to the track listing, i've always thought it didn't gel or flow as well as the others, particualy '16LL' and 'LBATBDE'. I played all three re-releases yesterday and 'Tallulah' is the one i keep wanting to go back to now. In the same way that the first 3 re-rleases showed how great 'Spring Hill Fair' actually is (another with an uneven tracklisting i think), this set of re-releases has shown 'Tallulah' to be a gem and, yes i will say it, better than 'LBATBDE'. The problem (benefit?!?!) with The GB's is they haven't made a 'Marquee Moon' or an 'Automatic For The People' which unites more or less everyone when it comes to best album lists. I think they've made 4 absolutely classic 10 out of 10 albums that will stand the test of time and I couldn't really definatively say which is better than the other. Can't think of any other band in that position. | ||
| lindy morrison Member Username: Lindymorrison Post Number: 16 Registered: 09-2004 |
OK I hate this shit but for the 100th time, a drum machine that I programmed replaced me on some tracks, obviously that's why they sound like my simple style, and then I overdubbed cymbal parts, but many tracks on 16 LL, I played but will have to listen to reissues to tell you, certainly Dive. Also will have to relisten to Tallulah to answer Tallulah questions but simply stated AB had just joined and violin and rhythm section worked closely together, from memory how about Jack and The Clarke Sisters. Also co production with Richard Preston he was fabulous. AB and I cannot believe Mark Wallis is producing the new album, ah yes back to those those heady days of 16LL. But I have a question can someone tell me why Tony Visconti comes up in my royalty statements, what the hell did he do to deserve a royalty? Now I'm in a really good mood! | ||
| Dusty Unregistered guest |
He r-r-r-remixed 'Love Goes On' so it would be played at discos. | ||
| lindy morrison Member Username: Lindymorrison Post Number: 17 Registered: 09-2004 |
Thanks, must have missed the Loves Goes On dance hit | ||
| John, Sweden Unregistered guest |
My first Go-Betweens album was "16 Lovers Lane" and it left me speechless. A masterpiece, if there has ever been one. Then I bought "Tallulah" but was very disappointed. These reviews all seem to agree that the remastering has done wonders so I will have to give "Talullah" a second chance.. | ||
| Minkey Unregistered guest |
Is anyone else horrified that these re-issues do not have an Australian distributer? It's criminal! | ||
| lindy morrison Member Username: Lindymorrison Post Number: 20 Registered: 09-2004 |
They can't have a distributor, because Festival owns the rights to all 6 albums in Oz, rights in Oz come up again in April 2006. In the eighties, there was an anomaly in contracts, we were able to keep Oz separate to the rest of the world. | ||
| Pádraig Collins Unregistered guest |
Thanks for explaining the Australian situation regarding the re-re-re-releases Lindy. Prior to what has happened with The Go-Betweens I was unaware that the rights ever reverted solely to the artist unless it was a case of the artist licensing the albums to labels in the first place. Is there a standard 20 year contract or something? | ||
| lindy morrison Member Username: Lindymorrison Post Number: 21 Registered: 09-2004 |
Exactly Pádraig (copy and paste). The soundrecording rights never revert back to the artist even when the recording artists pay back every cent the company spent on recording etc etc and have recouped - the artist still doesn't get a portion of the sound recording rights. BUT we bought back rights to first three albums for the entire world and universe as those first three lables went broke or didn't want The Gobs recordings any more, (that is the short story, actually it is a really long complex arduous chapter of plots and counterplots). HOWEVER with Beggars, although we had the anomaly of keeping the rights in Oz when we signed to them (that anomaly existed only in the eighties), they have the rights for the rest of the world for the last three albums. We are unrecouped 60,000 pounds. So, (do not fall asleep, go to the fridge have a kit kat, I love this stuff) Beggars have the rights to the last three for the rest of the world and we have the rights for the entire catalogue in Australia which is fucking fabulous! We did sign those rights across to Festival for a lovely advance. And I get a royalty from those sales in Oz. When they come up in April 2006, we can re-sign to whoever or put them out ourselves. Bob wants us to re-sign to a record company. Now with that reissue, Beggars did a deal with Lomax for reissues because Beggars wasn't selling any albums but Lomax convinced Beggars they could sell (with all the extra stuff I keep reading about in here but after the last dreadful reissue with all the shit I can't listen to any of it) but I am not privvy to this deal as it is between those two companies, I just hope it bloody helps to recoup. There is so much more to all this. You have no idea how complex contracts and copyright has become since AUSFTA Bill was passed. | ||
| carl Unregistered guest |
Thanks Lindy. Maybe I`m dull, but it would have been interesting reading stuff about contracts in the book. | ||
| Pádraig Unregistered guest |
Yeah, thanks for the explanation Lindy. Is it the Beggars reissues that you think are shit or the first three double versions? I know you don't like talking about some of this stuff so no worries if you don't answer. | ||
| lindy morrison Member Username: Lindymorrison Post Number: 22 Registered: 09-2004 |
Pádraig, I spoke too soon (just for a change). The first three double versions had so much stuff released that should have never been heard. That's what I was talking about. Mostly jam sessions, at least all the non believers can hear that I can actually play the drums and I did receive royalties. So what lable was that, I've forgotten? I'll have to find out when those rights come up. I hope the site doesn't mind me using it as an info bank but I do give something back as well. Carl people would fall asleep in a chapter on this stuff, it's very specific to those of us who delve into the music industry, contracts and rights management. I bore people at parties. In fact I don't get invited any more. I think I can hear AB playing violin in the corner. I'd better go and check. | ||
| Peter Collins Unregistered guest |
Could you run that by me again.... er, on second thoughts..... |