| Author | Message | ||
     Pádraig Collins Unregistered guest |
I have lived with Oceans Apart for about three weeks now and it really is a superb album. It is Grant's best album since 16LL; it is Robert's best since Liberty Belle. And, as with Liberty Belle, Robert steals this album by a neck. Seven of the 10 songs are Go-Betweens greats, up there with anything the band have ever done. Those seven are: Finding You (Grant); Born To A Family (Robert); No Reason To Cry (Grant); Darlinghurst Nights (Robert); Lavender (Robert); The Statue (Grant); and The Mountains Near Delray (Robert). I know that some of you also get the Tallulah list emails, but I have to say that I am so sick of the negativity from a lot of those that I have unsubscribed myself from it. For those of you not on the Tallulah list, the average negative response goes something like: "Everything they've done since Before Hollywood has been a disappointment" or "They shouldn't call themselves The Go-Betweens. Bernard Butler and Brett Anderson have gotten back together and don't call themselves Suede" or "You are a moron if you don't love SMAL". What a bunch of whiners! The Go-Betweens have made the comeback album we've all been waiting for and all the majority of these people do is complain. Well, that's my tuppence worth anyway. | ||
| kuba Unregistered guest |
Personally I rate Lavender (along with This Night's For You) as the weakest track on the record. I now know every single sound and word on Oceans Apart and although I do not share your enthusiasm, I think it's their best post-reunion album. I still can't imagine comparing it to any 80's post-SMAL LP (and I'm a new supporter of the band, not an old whiner;) ). Cheers. | ||
| jo Unregistered guest |
Padraig dont you think you should have sent that e-mail to the Tallulah list, why mention it here? Nothing worse than some-one who talks ill of others behind their backs. I don't care whether you stay on a mailing list or not but dont think this is a forum for sniping at others. | ||
| fsh Unregistered guest |
Pádraig - whether or not you wish to remain a member of the Tallulah list is a matter for yourself, nobody else. But I can't agree with the sentiments you expressed above about "the average negative responce" as you called it. What is so wrong with being critical? If we have to agree that everything is wonderful, positive etc do we not turn ourselves into individual's as thick and ignorant as it's possible to be. The denial of complexity is the beginning of tyranny, my friend. | ||
| The Dentist Unregistered guest |
Hmm, not sure the tetchiness of these responses don't prove Padraig's point. As a long-term browser, no-times poster, it seems to me there are two worlds out there: a sunlit, joy-filled world where each new Go-betweens release is welcomed with passion and enthusiasm: yeah, the album might be great, might simply be good, or may be mediocre, but it's good to have them around making music. And another, in which it's a heresy that Lindy ain't on drums, nothing can possibly compare to what they did in the 80s, Send me a Lullaby isn't a callow, interesting piece of juvenilia but a fully-fledged masterpiece, and Robert and Grant have lost it and should have killed themselves years ago. There's a new album out: don't worry, be happy kids. Be critical yes, but not the whingeing 'it's not as good as before hollywood is it' type of criticism. (though it is: it's better.) | ||
| JohnD Unregistered guest |
i agree with the dentist well put in my opinion and the listers can be a bit on the 'no one expects the spanish inquisition' side of things if that makes sense but as has been said they are entitled to their opinions as are those who think things seem to be getting better n better in the GB camp of late. | ||
| Cichli Suite Member Username: Cichli_suite Post Number: 45 Registered: 08-2004 |
Hey, I think Pádraig's post about the Talullah list is perfectly appropriate here. The general chat section of the forum is for "anything Go-Betweens" and I take that to include posts criticing a list where the GBS are discussed. If you don't agree with him - fine, but don't have a go at him for making a relevant point. It made me laugh, anyway, as did the post by the Dentist. Personally, I think wander between the sunlit, joy-filled world the Dentist has described and the valley of the damned where 'Before Hollywood' is played all day long. | ||
| Jerry Clark Member Username: Jerry Post Number: 61 Registered: 08-2004 |
The Tallulah list has been quite active recently, but I haven't noticed a great deal of negativity regarding 'Oceans Apart'. Still looking forward to it myself, I can wait. | ||
| Niallw Unregistered guest |
I think Padraig has a good point. I, as an 80s originated GBs fan, have found that some people are fans of the GBs for pretentious and not necessarily music reasons. | ||
| Nelson Mandela Unregistered guest |
In his posting above Niallw distinguishes between the "real" fans and "some people [who] are fans of the GBs for pretentious and not necessarily music reasons." Now, that we've found someone who can categorise and distinguish between these two types of GB's fans, maybe we could segregate them like they have very successfully done with rival soccer fans on Saturdays in the U.K., they used to do something similar in South Africa a few years back. Separate mailing lists for each type of fan could be set up and policed. We could nominate this forum for "real" fans and let the other fair weather n'erdowells stick to the tallulah list or vica versa. Whatcha think? | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 50 Registered: 10-2004 |
i'm not sure i've noticed any huge shift toward negativity either on the tallulah list, just a lot of people who are very passionate about the go-betweens, expressing their (sometimes differing) views to fellow obsessives. no crime in that. i think one could easily find just as much negativity on this message board. | ||
| Randy Adams Member Username: Randy_adams Post Number: 14 Registered: 03-2005 |
I just look forward to hearing OA. I hope I end up agreeing with Padraig's assessment. | ||
| Smiley Unregistered guest |
Wouldn't it be wonderful if these boards were free of Pádraig's negativity about mailing lists? What a whiner! | ||
| Jerry Clark Member Username: Jerry Post Number: 63 Registered: 08-2004 |
This does come across as very sulky, you know if the big boys are ruining your game, fair enough, stay away from them. You don't have to tell teacher though, do you? | ||
| Duncan H Unregistered guest |
Well, the album turned up in the post for me this morning. The joy was tempered slightly, because after I put it on the CD player my daughter decided to be sick. However, the first two songs were instantly wonderful. The rest was somewhat lost, but I'm looking forward to enjoying it over the next few weeks! | ||
| Malcolm Webster Unregistered guest |
I got the album in the post this morning as well, put it on immediately and I think its easily their best since reforming. The Mark Wallis production is excellent - I think the extra ear helps a lot! Some beautiful new songs - Grant's quiet songs sound like the melancholy ones he was writing around Tallulah and Forster's have the usual angst written beauty! The only song I can't get my head around is the opener "Here Comes A City" although I do find it amusing! Looking forward to seeing them play live soon. | ||
| Andy Robinson Member Username: Andyblue Post Number: 3 Registered: 03-2005 |
Me too - partway through the first listen and helping me to feel exceptionally mellow on a Saturday morning. Fresh and yet mature and yet not at all cheesey - which I think (as a person who's carried the band in his head and heart for a number of years) is kind of how I would like to be seen. Roll on Shepherds Bush! | ||
| Boundary Rider Unregistered guest |
Got it this morning too. Speechless. Has Grant ever been on better form? Boundary Rider, No Reason to Cry, Finding You, all of them are graceful and beautiful songs, with that tinge of melancholy. Rob on typically wonderful form too - Darlinghurt Nights is up there with his best. Think there's a lot of nostalgia in the lyrics. Sumptuous production,too; band sounds fantastic, better than it ever has done. It will only get better with every listen. Can understand the hype. Believe it! I do now. | ||
| Boundary Rider Unregistered guest |
Listened to it eight times now. Want to add this profound piece of critical evaluation to what I said above. Get in you fucking beauty! | ||
| niall w Unregistered guest |
I haven't got mine yet. Its like waiting for Xmas morning when I believed in Santa! | ||
| Matt Ellis Member Username: Matt_ellis Post Number: 12 Registered: 11-2004 |
Good on yer Boundary Rider! I'm now on my second listen of the new disc, agreed!...its an excellent record. It's what I hoped BYBO would sound like. On first listen my immediate reaction was that it is the most produced Go-Bees album to date and Roberts best vocal performance on record. "The Statue" suprised me: programmed drums, the bass played through an effect, modern keyboard touches, treated vocals. That track is definately takes the band in a new direction (although its one of a kind on the album) Another big difference between OA and BYBO is that the bass guitar style of playing is much busier and prominent (partly to do which the producer giving the bass a lovely fat sound) have the guys given Adele an increased licence? I can't get enough of the bassline on "Born To A Family". Also the album doesn't really feature any spartan striped down tracks (like on the previous 2 post-reformation albums). Thats not neccissarily a good or bad thing in my opinion. Apart from the first 3 tracks, what other tracks do people think they will perform live from OA on the upcoming tour? "No Reas-on" | ||
| thomas Unregistered guest |
the mai-issue of the german Rolling Stone magazine will have a 16-sites special of the go betweens..in german..off course.. | ||
| Dusty Unregistered guest |
I received the CD on Saturday and have listened to it 4/5 times now. Without doubt it's my favourite of the mk 2 albums - I don't think it's worth comparing to the earlier stuff as they are a different sounding band now. Objectively speaking however I think it's a fantastic album - mirroring a couple of others I'd say there were about 7 excellent songs with several OK songs. The only song I really haven't warmed to is "This night's for you". Overall Forster's contributions are absolutely stellar (and McLennan's also very strong). I think it's difficult to make definitive comments at this stage as it takes time for songs to work on the listener but it's without doubt a very good LP. On a slightly different note has anyone noticed that the mastering seems a bit iffy on a couple of songs - notably during the noisier bits on "Finding you" and "This nights for you" - maybe it's just my old stereo but it sounds a bit distorted to me. | ||
| The Dentist Unregistered guest |
Been living with the album three weeks now, and Here Comes a City is the only one I'm tiring of. But then I did listen to it countless times befor hearing the album. The consensus is that This Night's for You is the weakest song on the album, but it's one I'd like to shatter. I love it: the 'Ba-da-da' backing vocals, the Kinks-y guitar riff in the bridge and that soaring chorus. THough accepted, it's lyrically Grant's weakest effort (though The Statue and No Reason to Cry more than compensate in that department). As for the distortion Dusty, I know what you mean, but these non-muso ears thought it might be intentional. To give it that AM radio metallic sheen. | ||
| jek Member Username: Iambelmondo Post Number: 1 Registered: 04-2005 |
I agree with everyone who says it's the best post-reunion record; I love it to death - and I actually think "This Night" is classic right until it gets to that clunky, "rocking!" chorus. *So* glad other people have brought up the distortion issue. I had a promo before I got the official release, and the distortion was *much* worse on that; I thought for sure it would be remedied when I got the real album, but was dismayed to still hear the bass and various vocal parts are still clipping out my speakers. | ||
| Duncan H Unregistered guest |
So, the distortion is intentional, isn't it? I assumed so, though I can't say I like it very much. | ||
| Alan English Unregistered guest |
Yes, let me add me tuppenceworth to the acclaim for the record. It could be that Robert nicks it by a whisker, thanks to the closing brilliance of Mountains Near Dellray, which really sticks with you after it's over. I got a bit of heat on Tallulah for questioning why someone would be debating whether or not to buy Oceans Apart. Anyway, we can all agree that it's fantastic that this record looks like being their most successful ever | ||
| shaquille o'neal Unregistered guest |
question-- what do you guys think of FRIENDS OF RACHEL WORTH? I like that one much better than this one, grant's songs in particular. THE CLOCK, GOING BLIND, those songs beat anything he's contributed to this new album. I do like a lot of Forster's tunes on the new one, but Grant's just seem like middle of the road static. he could write these songs in his sleep. they just have really hi-fi production on them. | ||
| Latrell Spreewell Unregistered guest |
i'd be polite by saying i think rachel worth is pretty f-ing average. and for me, that album has grown worse with age. i could live a perfectly happy life without ever hearing it again. the colorless production, the trite songs, etc., to me it all sounds like they weren't trying very hard at all. i think tunes like the clock are really half-baked. about the only things i like on that album are "magic in here" "he lives my life" and the part in "going blind" with that awesome grant mclennan-esque guitar melody that grant didn't even write or play (kudos to whats-her-name from sleater kinney for that). i've only heard three songs from oceans apart, and thus far, two of those three easily top anything on rachel worth. | ||
| Randy Adams Member Username: Randy_adams Post Number: 16 Registered: 03-2005 |
My favorite moments on "Rachel Worth" have always been "Spirit" and "When She Sang About Angels." I still rate these as among Robert's very best songs of his post-original GoBees career. But I haven't heard the new album yet. | ||
| Duncan H Unregistered guest |
I loved "Spirit", "Surfing Magazines" and "Magic in Here" from RW (I prefer RW to BYBO). On the new one, none of Roberts songs quite stand out like those above on RW worth did, but I really love both "Finding You" and "The Statue" on Oceans Apart. To me the new album is much more of a success to Grant (who I thought was second best on the last two albums) than Robert. | ||
| shaq's friend dwayne wade Unregistered guest |
I appear to be in distinct minority re: Grant's songs on the new one. I keep listening and listening to the new album and it doesn't really get any better for me. Some of grant's tunes on the new one I would personally qualify as awful top 40 radio-esque. The melodies don't grip you. There isn't much variation in tempo or... just songwriting in general. It's not that i hate fancy ass production, because i love 16LL, but... i don't know what it is. and i can't understand why everyone seems to like the new album so much. I'm glad you guys do though. Dare i say it... i like BYBO better. | ||
| Big Charlie Unregistered guest |
yip - there's no bettet Grant song on this album than poison in the walls for example. In general the grant songs remind me of his solo albums - BUT - i think he's singing well, age suits him. Once he writes a good song again we might see a classic. Roberts songs are "roberts songs" - becoming way too stylised. I've no idea why peole think this is a return to form - you wont play it a month from now nevr mind 25 years (BH). | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 61 Registered: 10-2004 |
i actually thought that grant's songs on BYBO were among his best in years, not to mention the real high points on that album. stuff like old mexico, unfinished business, poison in the walls, too much of one thing (for which he actually supplied the music) IMHO, demonstrated a certain strength which he'd been lacking for a while. i think grant really nailed it on that record. however, i feel like most of his solo stuff lacked the kind of finely crafted and distinctive melodicism found in the above mentioned songs. like it veered into bland MOR waters. i haven't even heard any of grant's contributions to OA (i've heard three tunes, all of them robert's), so i can't comment on those, but hearing all these criticisms and/or rave reviews is making me insanely curious. | ||
| kevin Unregistered guest |
robert wins it by a distance on this album. someone said in another topic that grant felt he could now compete with elton john and michael stipe - i think that should strike fear into the hearts of everyone | ||
| kuba Unregistered guest |
I'm a big Grant fan - I generally tend to prefer his songs. But I think this is the first Go-Betweens record that Robert's work is clearly better than Grant's. I agree with Jeff's opinion, "Old Mexico" was McLennan's classic. Here his songwriting is just good. "Statue" is a great pop anthem, I like "Boundary Rider", "Finding You" and "No Reason" very much, but I wouldn't say they're stunning. And "This Night's For You" is below his average really. | ||
| dreamerdon Unregistered guest |
I've listened to Oceans Apart all day. It is simply wonderful. They have really WORKED hard and produced an album with wonderful sounds. BTW, JB Hi-Fi did not have the 2CD version so I had to buy the standard version. Does anyone know why ? | ||
| Peter Azzopardi Member Username: Pete Post Number: 96 Registered: 09-2004 |
Don't know, dreamerdon. I rang my nearest JB this morning (East Keilor - THE first JB you may be interested to know) and they said it probably wouldn't be in their store till Wednesday. So I bit the bullet and bought it from the nearest HMV who only had the 2CD version for $29.99. You wouldn't think that the distribution for a major label would be so disorganised but there you go. Very pleased to have the album proper. Everybody has said so much about it already that I'll just add a couple a short observations: 1) I think "Finding You" is one of Grant's most lyrically interesting songs. I can't decide whether the music on this one reminds me more of the Church or Frank Black. 2) The comparisons of "Boundary Rider" to "Cattle and Cane" are more obvious than I first thought. There's definetly that pastoral soundscape there and it could well be the belated fourth installment following "C&C", "Unkind..." and "The Ghost...". 3) The mastering problems on the legit product, while still present, are only really distracting on the chorus of "This Night's For You." In the song's defence, I think that if the band choose another single for radio this should be the one. Yes, it is probably the weakest song on the album, but it screams commercial radio to me. 4) The numerous "Copy Control" warnings and messages on the AU cover are quite annoying. I feel like I've infringed upon some copyright law just opening the bloody case. Those are the breaks of hopping in to bed with EMI I suppose (or maybe I just have an excessive guilt complex). 5) Robert's singing has never been better and finally--with "Lavender"--I can hear a Dylan influence, though it's more "Under the Red Sky" than "Desire". With this song they also managed to make the reggae number they threatened to in the interviews at the end of Nichols' revised book. 6) I would say the song quality on the whole is fantastic, probably the best of the mark 2 albums. "Mountains" is one of Robert's most beautiful songs--certainly no trace of stylisation there. It reminds me a bit of "The River People" in its lyrical vagueries and for the elusive chord sequence not typical of Robert's songwriting. "The Statue" is probably my favourite at the moment though. Looped drums and treated vocal done artfully. A way forward, or just a wayward experiment? That line "At night I haunt the boulevard/to the songs of Sacsha" is my favourite. There's something about the way it is sung that just gets to me. I quite like the white soul of "No Reason to Cry" even though it sounds a bit rushed and unfinished to me. Nice fuzz guitar too, and is that an E-bow on "The Statue"? I'll let the guitar fiends debate this one. I'm genuinely excited for the band. I hope it sells a bucket load for I believe they've taken a chance and made their first commercial LP since 16LL and, like that earlier album, it manages to be both contemporary sounding and great. Bit more than a "couple of short observations" but I realised a had a bit to say in the writing of this post. Sorry for the scroller. | ||
| Pádraig Collins Unregistered guest |
An excellent post Pete. I checked JB's in Sydney on Friday and they didn't have it. Hopefully they will have the double version tomorrow when I get in there. | ||
| Pádraig Collins Unregistered guest |
By the way, there's a story on The Go-Betweens in the Weekend Australian. I have it in front of me but have not read it yet. Because I'm a nice person, I have found the story link for all of you non-Aussies out there who will have no hope of getting the paper edition. Read it soon though as the Aus only allows free reading of their stories for a few days. http://www.theaustralian.news.com.au/common/story_page/0,5744,15094206%255E16947 ,00.html The album gets a 4.5 star review in the same edition of the paper. | ||
| ttd Unregistered guest |
I simply don't understand the rave about OA. For me this is the easily the worst of the re-union albums, a steady decline, really, from FORW to this one. Firstly, the production/mastering is horrible. Everything signals big production, yet some of the songs sound no better than if they were made on home recording equipment, massive, hard, compressed, far too "processed". Secondly, I think Grant and Robert are falling dangerously into stereotypes on this one. All of Grant's songs are in that romantic-melancholic-mystical vein that sometimes has made him intensely moving. Here he simply overdoes it to the point of banality. And comparing Cattle & Cane with Boundary Rider simply shows how rare is the combination of care, craft and inspiration (luck!) that makes a great piece of art. Musically Robert's songs stand out as being a lot more varied and individual. But I can't overlook the fact that what I once found intensely intriguing in his vocals now comes very close to mannerism. It is as if he doesn't completely trusts his own words so he tries to recompense by a peculiar phrasing. This can sometimes be truly funny - I think he succeeds 100% on older songs like Surfing Magazines or the way he's done Draining the Pool live in recent years. On OA, though, he sounds a bit like he tries to out-Robert Forster himself. To my ears songs like Here Comes a City and Born to a Family are close to sounding stagy. I simply find it such a step backwards from an artist who once filled a whole album (Danger In the Past, but there are strings of great songs on all his GB and solo albums) with such intense, beautifully crafted, sad AND funny songs, and sang them with conviction. I'm really ending on a downer here, aren't I? I'm sorry if I annoy all of you who like OA, and my intention is certainly not to detract from anyone's enjoyment. I'm just puzzled by the rave and a bit dissappointed with one of my all time favourite groups. | ||
| david nichols Member Username: David Post Number: 44 Registered: 09-2004 |
I am pretty sure that the statement in the Australian's article 'Sydney has a significant role to play in the history of the Go-Betweens and that history gets a mention on one of the new songs, Darlinghurst Nights. It's a Forster nostalgia trip through the dark streets and colourful characters that inhabited their life just before they departed Australia for the first time' is incorrect. Surely this song is about the late 80s, when RF was living in Darlinghurst, not the late 70s... | ||
| Peter Azzopardi Member Username: Pete Post Number: 97 Registered: 09-2004 |
Did the Grey Tapes play last night David? I'm sure I read it somewhere but I couldn't find the gig advertised in this weeks Beat. | ||
| Pádraig Collins Unregistered guest |
You're right David, I thought that read oddly also. Pete, got the 2 disc version in JB's this morning for $29! EMI's paranoia is not going to stop me iPodding it tonight either. | ||
| david nichols Member Username: David Post Number: 45 Registered: 09-2004 |
Pete, yes the GTs did do a rare precious and beautiful show at the Old Bar on Sunday afternoon. We slayed 'em. People were left gasping! Afterwards I ate more gnocchi than I knew existed. Re: RF in Darlinghurst, I recall running in to him in Crown Street when I was working at Smash Hits, it must have been December because he was on his way to the Rolling Stone christmas party. This must have been 1988. I made a face at the mention of Rolling Stone and he said 'well they've always been good to us'. This wasn't even true, particularly, though I suppose it would have been true for the late 80s. Actually I think technically RF was living in Woolloomooolloo, but Woolloomoolloo Nights might sound like an appropriation from Ken Slessor, rather than homage. | ||
| david nichols Member Username: David Post Number: 47 Registered: 09-2004 |
Further to my gripe/question on D'hurst Nights, I guess I am wrong, I have to hand the current issue of Robiter, the University of Qld's 'premier cultural paper', in which GMcL says that the song is 'like an epic movie that involves a whole bunch of people living outside the law in Sydney in the early 80s'. Of course this wasn't just before they departed for the UK for the first time, but nor is it the late 80s. | ||
| Pádraig Collins Unregistered guest |
So I iPodded OA last night and listened on the headphones and now I do agree with the comments above and elsewhere about the mastering. It is awful. Wilful distortion a-go-go with a total lack of dynamics when you are so close to the sound. I will take it off the iPod and in future just play it through the hi-fi where, to date, it has sounded fine. The live EP sounds great through the MP3 player though. | ||
| Mark Leydon Unregistered guest |
Picked up a copy of Oceans Apart here in Sydney over the weekend. Loving it. Right up there with Spring Hill Fair and Liberty Belle in my opinion. First two tracks are Foster and Mclennan (respectively) at their very best. But have to agree with the comments about the sound of this album. I think it is the victim of modern scourge of over-compression. This happens at the mastering stage. Its a ploy to make the music more radio-friendly by making it as loud as possible - 'hot' to use the mastering jargon. It dramatically reduces the dynamic range and has the effect of squeezing the life out of the music. It can also make the music fatiguing to ear, no matter how good the songs. Lots of recent EMI records seem to be victims of this trend. Last years' Finn Brother album Everyone is Here is a case in point. A fine buch of songs ruined by over-compression at the mastering stage. I'm surprised to see the Go-Betweens fall into this same trap - but then again maybe they had no say over the mastering. | ||
| H. Unregistered guest |
Well I listen to most of my music through headphones while working on my computer. The album is great but it is so disappointing that they screwed the mastering up. Why didn't anyone involved do some post-mastering quality control listening? | ||
| Donat Member Username: Donat Post Number: 34 Registered: 11-2004 |
David, I figured that in naming Marjorie MacIntosh, Kim O'Brien, Andrew Wilson, Clinton Walker and Debbie Auchinachie that it would be the Darlinghurst of the early 80s.* The story goes that "Andy and Clint" shared a place in Darlinghurst at that time. I quizzed Robert Forster a few weeks ago on whether these were the people he was mentioning in 'Darlinghurst Nights,' and he confirmed it. I forgot to ask about the cello playing Joe. It could be Joe Borkowski from Out of Nowhere/The Poles as he is a cellist, as well as a bass player. * Check out the back cover of ANDA 28 | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 65 Registered: 10-2004 |
wow. i picked it up today, and after my first listen, i feel like this is unquestionably their best post-comeback album. i agree with a lot of what's been said above, about robert being in top form here. the immediate stand-outs seem to be his. the guitars have a lushness, a layered, melodic sound that really adds a lot to their songs, and which for me kind of defined their sound in the 80s. not that this sounds like their 80s records, but some of the traits that endeared me to those records so much (and which were lacking on RW and BYBO), are once again prevalent here. songs like "lavender" have that gentle, lilting, lush quality often found on records like 16LL. except for the dreadful mastering job, this is a classy, beautiful, lush, sharp set of songs. and it's too bad about the mastering, because for the first time post-2000, it sounds like they finally had a producer who is sympathetic to their sound. the space, the lushness, the layered quality, etc... it all really gives their songs an enormous push. adds a sense of atmosphere. something i think the last two albums lacked, to varying degrees. but more than that, i think the songwriting itself is pretty consistently good (again, especially from robert's end). i'm not partial to "here comes a city," and "this night's for you" sounds a bit forced to me, but overall, it sounds like they raised the bar here. | ||
| holly wood Unregistered guest |
Another early return from the tiny Go-Betweens contingent in the States, where it was just released today: 'Oceans Apart' upon first listen sounds like a major step forward from the last two GoBs Mk II releases--and yes, it sounds lke a real band this time. They actually let Glen play some fills and rolls; he won't make anyone forget Lindy on 'SMAL' or 'BH,' but it's a step up from the anonymous timekeeping of the last album. And Adele's bass and backing vocals are nicely integrated. Maybe the joy of having a new GoBs album is making me too uncritical, but even the more-maligned songs from the album ("This Night's For You," "Here Comes A City," "Statues") sound really good to these ears. "Darlinghurst Nights" was the goosebump-inducer and will probably prove to be the album's classic, but there are plenty of memorable songs here. Unlike many others, however, I'm not sure I'd say Robert's songs dominate as a whole. (Then again, I thought 'In Your Bright Ray' was better than Grant's songs on the last two GoBs albums, and 'OA' is closer to that album's sound.) As for the mastering issues/distortion: yeah, it's there, and it's unfortunate because the album could sound quite spectacular otherwise. But I hate to think it would ruin the album for anyone. | ||
| Pádraig Collins Unregistered guest |
I'm still embarrassed that I spelt Apart wrong when naming this thread. | ||
| pete d Unregistered guest |
First few listens thought the album was okay but find i havent picked it up again in days. There were/are a few okay tracks but certainly nothing world shattering that you're really glad they've realeased. Its rather dull i'm afraid | ||
| David Matheson Member Username: David_matheson Post Number: 6 Registered: 12-2004 |
First reaction to hearing the entire album. I grooved along with Here Comes A City, a song that has grown on me after a number of listens. I fell in love with Finding You instantly, re-playing it several times before moving on to the rest of the album. Born To A Family has that Robert Forster German Farmhouse-esque quirkiness. No Reason To Cry wasn't particularly interesting. Boundary Rider had me on my horse on an outback cattle property: a gem. Darlinghurst Nights builds wonderfully to a brilliant high, although in the last part I was expecting to hear "I am the walrus coo coo coo choo." Lavendar is a catchy little pop tune. The Statue evokes some wonderful images. This Night's For You is OK, but the heavy distorted sounds detracted from it. The Mountains Near Dellray is a fantastic closing. Overall, I think Robert is at his best, whereas Grant has some wonderful highs and a couple of flat spots. Some of Grant's songs reminded me of his solo material. Then I played the Bonus Disc and I thought it was even better. I hope I like the new songs after repeated listens as much I enjoy the familiar numbers. | ||
| faery Unregistered guest |
Im a little sad . I,ve had it for a week and find myself listening to the bonus disk alot . I think roberts over doing the american accent and grant is repeating his poetry .... FAMILY is mastered badly.Album Feels rushed . :-( | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 67 Registered: 10-2004 |
i think 'born to a family' is the best thing robert's written since his Calling from a Country Phone era. an amazing, solid, timeless, classic song. everything about this song is totally blowing me away. after absorbing the album a bit more, it does seem that grant's songs, while certainly good (especially 'boundary rider), aren't quite up to par with robert's material. 'darlinghurst nights' sort of reminds me of 'death of a disco dancer' by the smiths. starts off with a similarly cool riff, played kinda slow but rocking and steady; the song builds, near-epic, steadily rising up to a loud, dense crescendo. is that mandonlin on 'finding you'? it's really nice. classy interweaving of guitars here. 'lavender' and 'mountains near delray' are other standouts for me. the guitar interplay in lavendar is reminiscent of 16LL. certain aspects kind of make me think of 'clouds' or 'i'm alright.' distorted, crappy mastering aside, i'm enjoying getting to know this album. | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 69 Registered: 10-2004 |
more thoughts (i know, i know - as if anyone really gives a shit!)--- i don't understand why 'born to a family' wasn't the single. that seems like the obvious choice to me. just an all around outstanding song. it sticks in my head like super-glue. infectious. grant's songs don't quite go for the jugular, as far as catchy hooks and melodies are concerned. they're good, but just a bit more laid back or something. i think i said up above that i wasn't into 'this night's for you,' but i meant the 'statue,' which kinda reminds me of the band lush, oddly enough. 'this night's for you' reminds me of the church, especially the verses, which could've fit perfectly well on "heyday" or "seance." the chorus, however, with it's raunchy cock-rock power chords, sounds a bit forced for them, but really just sounds crappy because of the distorted mastering. i do like the song overall, though. one thing a few people have mentioned is the use of synths and looped drums on a few of grant's songs. which is kinda weird. i applaud their willingness to go in what is a fairly new stylistic direction for them. and that they seem to have pulled it off is nice. mark wallis managed to weave those elements pretty seamlessly into the more organic go-betweens fabric. i love how robert's vocals are drenched in reverb on 'mountains near delray.' it's touches like that which i think the previous two albums were *desperately* in need of. just really adds a nice sense of depth, space, and color. the live barbican songs on the bonus disc sound wonderful. i'm not usually a big fan of live recordings (i always feel like i had to be there to really get into it), but these sound really nice. okay, i'll shut up now! | ||
| holly wood Unregistered guest |
Interesting thoughts, Jeff. I guess we all have different ideas of what the single should have been, though...if not for the horrific distortion, I'd be inclined to pick "This Night's for You," not because it's the best song but because it seems like it would have the most mass appeal--the backup vocals, the big chorus, the (as you say) cock-rock power chords. You mentioned the synths and drum loops. I was initially really put off by "No Reason to Cry" because of that synth line that opens the song, but then I came to like it when I remembered that a GoBs song shouldn't have rules about what instrumentation is allowed. Hell, 'Spring Hill Fair' had synths and programmed drums, after all. As for the live tracks, I have a question for anyone who saw the Barbican show and can compare it to the live tracks on the bonus disc. The vocals sound really far in front of the music, especially on Grant's songs. Did it sound that way in concert, or is that just the way they mixed it for the disc? Since I'm seeing them live next month, I'm wondering if I should expect them to sound like the disc, which is more a singer-with-accompaniment than a rock and roll band sound. If you know what I mean... | ||
| Graham Twyford Member Username: Graham_twyford Post Number: 2 Registered: 05-2005 |
Jeff, funny you should mention 'The Statue' reminding you of Lush - I can see where you're coming from. However it actually reminds me of The Cocteau Twins (that guitar sound). holly wood, I really like the live tracks but I find the drums near the end of 'He Lives My Life' totally unneccessary and really annoying - just doesn't fit!! | ||
| Randy Adams Member Username: Randy_adams Post Number: 18 Registered: 03-2005 |
Ok, I will weigh in here. But I will also need some more listens to have a final opinion. First, Jeff and I obviously have very different musical tastes because, to me, "Born to a Family" is an outrageous throwaway. It's twee and very insubstantial from both musical and lyrical standpoints. I've written things like that a few times and always thrown them away. On the other hand, Robert's offerings later on the album are jaw-dropping: "Darlinghurst Nights" and "Mountains Near Dellray" are going to remain important parts of his canon. And "Lavender" promises to hold up well too. I agree with the observation of someone on here (Holly Wood?) that Grant's things have a bit of the feel of his solo albums. I am a great fan of Grant's solo albums so this is definitely NOT a problem. I regard "Finding You" as quite a wonderful moment and am also quite taken with "The Statue" on which Grant stretches a bit from his usual chord choices. "This Night's for You" seems particularly like something he would have done on one of his solo albums. I haven't listened closely to the sound, i.e., I haven't used headphones. But, yes, god the mastering is outrageously forward. This CD is vastly louder sounding than much of anything else I have. Perhaps this will be an album that enjoys a total makeover in the future like the re-mixing and mastering of Tallulah accomplished. I do feel like the group were really trying here. I expect this album to remain something I like better than BYBO for example. I appreciate the fact that Adele is being utilized as a backup singer pretty regularly now. She sounds more comfortable with it too. Concerning the live disc, gee I just wish they had put more songs on there. That was a truly great show and I think my favorite part was the awesome early section when they played as a three piece (plus "People Say" when Adele walked out to play the keys). The band themselves were obviously proud of their chance to use the strings etc and the choice of songs on the bonus CD reflects that but those weren't necessarily the best moments. Concerning the sound, I can't recall whether the voices were as far forward in the mix piped out to us. I doubt it. Usually the mix for the recording will have little relationship to the mix designed to work in a large room full of bodies and upholstered seats. | ||
| Randy Adams Member Username: Randy_adams Post Number: 19 Registered: 03-2005 |
I want to amend my last comments slightly. Jeff and I can't have wildly different tastes in music because it is my recollection that he likes Felt. I've been really enjoying my discovery of this group (late as usual). But we do hear something different when "Born to a Family" comes on. | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 72 Registered: 10-2004 |
randy - maybe i'm totally wrong, but did i also (along with a few others) recommend cathal coughlan to you? i can't remember. someone on this board came away digging cathal coughlan (after a few of us were raving about him), which is an all to rare, yet really exciting thing. at any rate, yeah, we all get different things out of the same music. for me 'born to a family' isn't twee at all, but more timeless, like something the beatles or the move could've done, but with a swinging motown beat, and updated with the kind of richly textured guitar layering the go-betweens are so good at (given the right producer,apparently). i think the lyrics are amusing too. to me the song just oozes soul. i thought 'going blind' was much more 'twee,' to give some you insight into what i perceive as 'twee.' | ||
| Graham Twyford Member Username: Graham_twyford Post Number: 3 Registered: 05-2005 |
Yeah I'm with you on 'Going Blind' Jeff. One of the catchiest songs on FORW ruined by utterly twee lyrics. Personally I love 'Born to a Family'. Although I wish he didn't say '...but I knew who I am' just to rhyme with 'plan'. Similary irksome to '...in that town' when referring to Brazil on 'Something fot Myself' on BYBO. Think someone already mentioned that on here too... | ||
| Stephen Harris Member Username: Smh Post Number: 1 Registered: 05-2005 |
Having had the album for just a few days I agree pretty much with Randy - except that I'm not a great fan of Grant's solo records and it's only "the statue" of Grant's songs I'm really enjoying. As for the live disc - the whole Barbican show is being sold on the tour, and it's all great, especially the first set with Grant on bass | ||
| Matt Ellis Member Username: Matt_ellis Post Number: 14 Registered: 11-2004 |
I'm suprised nobody has mentioned the wonderfull bass line in defence of Born To A Family. I think the bass is worth the admission price for that song alone. I know that not everyone listens out or can easily distinguish bass but it seems very catchy and prominent to me on that track. I agree with Jeff that I find the lyrics to Born To A Family amusing - I'd love to be able to explain why! On a different point a poster (major scrolling but still cant find the name!) raised an interesting point by saying: on this record Robert seems to articulate his vocals more and more in his own style. Specifically I'm thinking: "No Reas-on" (No Reason To Cry) "Cit-ee" (Here Comes A City) "Brunet-ee", "Spaget-ee", "Debbie and CLINT" (Darlinghurst Nights) I find this cool and amusing in equal measure - it's not new but i feel its more marked on this album. It seems to be in vogue and accepted for reviewers to call Forster "arch" - I'm not sure if I fully know what this is - could someone explain this? | ||
| Randy Adams Member Username: Randy_adams Post Number: 20 Registered: 03-2005 |
You are right Jeff! Somehow I associated the Cathal Coughlan tip with Padraig, the blur perhaps the result of their common national origin. I've been trying to insinuate Coughlan into the consciousness of a friend of mine, since every new fan of his seems to yield an increase in his audience measurable in percentages. I try every cheap trick in the book including appealling on his own Irish-American background, but it is tough going against the "not invented here syndrome" (meaning he didn't make the discovery on his own). But he already loves Lloyd Cole and Stephen Sondheim, so the job should really be done. I lump "Born to a Family" with "I Can Do," something else that I just can't spare a chunk of my life to listen to. But it's good to find that other folks like the song, so Robert doesn't need an editor after all (which is what I was thinking when I first heard it). I'm jazzed to hear that the entire Barbican show will be available to we lucky souls who get to GoBees' concerts. I do think they should make it available to fans everywhere. But I suppose eBay will take care of the rest of the distribution among the dedicated. |