| Author | Message | ||
     David |
Hi, have just finished the new GB -has read the old version but got the new one to complete the picture. thought it was good, what did other people think?? good points , bad points -have Lindy and Robert Vickers read it I know they post here would be good to get their thoughts on being put into print for posterity and from the average reader such as myself. I would love to see a song book about the go-betweens ala Ian McDonalds Revolution in the Head which did the same to the beatles, I have also seen a 'song stories' book about XTC which looked very comprehensive and gave the bands views on each song individually -thats next on my GB wish list -would Dave Nichols ever think of doing something like that for the GBs?? | ||
| stephen |
I've just finished it aswell and thought it was one of the best books about a band that I have read. It transported me back to Brisbane in the 70's, Scotland in the 80's and loads of other places, I found out plenty of stuff I didn't know about one my favourite bands. Buy it now if you haven't already. It also inspired me to write a song called "Lindy Morrison's Smile". | ||
| Anonymous |
I'm reading it now. It takes me back in time too. I feel like they were easily people I could have known. | ||
| Alfred |
This is my original review, posted a few weeks ago. David: I just finished your biography of the Go-Betweens. Thanks to your scrupulous research and intrinsic understanding of what powers the Go-Be's best albums, the book is a delight. The sketch of Brisbane in the mid '70s, as the punk winds blew through London in New York, is devastating. One of the more subtle ironies in your account is that Grant and Robert, disgusted by the musical status quo in Brisbane, were equally intransigent about their own influences; even to this day they still cite Jonathan Richman, "Marquee Moon," the Monkees, etc. Your interviews with Lindy Morrison fascinated me. I had no idea that such antipathy existed b/w her and Grant; and your analysis showed how her inimitable drumming accelerated the band's maturation at least as much as Grant's songwriting inspired Robert. Having said that, I missed any discussion of the Grant-Robert frienship, obviously the most important element in the Go-Be's greatness. Both men are notably tight-lipped on the subject - understandably so, since most guys prefer to let behaviour adduce personality. But other than your account of the Grant-Robert-Lindy tensions during the "Lullaby" days and Grant's telling remark last year that he and Robert don't frequent the same clubs, there's really no analysis of how the deep, mysterious, infuriating, and ultimately sui generis relationship b/w these two men empowered (god, I hate that word) their songwriting. Arguably the tensions b/w them were and are more fruitful than the fallout of the Amanda-Lindy relationships. "PLatonic homosexuality" is how Grant once described their bond, a telling phrase. I guess what I'm asking is: what makes them tick? We know from songs like "As Long As That," "Spirit," and "Too Much of One Thing" that they're aware of how one needs the other in ways too primal for strangers to explain; they remind me of Mick and Keith, except Grant and Robert seem like better human beings and more fascinating people. I wanted quotes from Lindy, Amanda, Willsteed, Vickers, etc - their takes on the Robert-Grant bond - as well your views on the subject. Reading your wonderful book made me even more curious. | ||
| Duncan H |
I got the book about three weeks ago. I didn't know anything about the people in the group other than what could be gained from reading the liner notes for the album. I didn't think very many of the songs were that autobiographical, they certainly couldn't all be. I liked the book, and I had no problem reading it to the end in a couple of days, but I didn't agree with much of the opinions within it. Virtually every time the book gave a verdict on a Gobs record (and especially on the solo records, which I mostly prefer to the early Gobs music) I disagreed with it (the worth of Horesbreadker Star, Your Turn My Turn to name but two). I also read somewhat of an anti-Grant thread running through the book, which I didn't like that much. Interviews seemed to be picked for their unfavourable comments about Grant, though it could of course be that that's what everyone wanted to say, and were glad of the chance. It did, to me, make the book seem rather one-sided. But I'd certainly recommend it to anyone who likes the Gobs. My wife's reading it now, and I'll be interested to see if she feels the same way about it at the end. | ||
| Randy Adams |
I'm getting the idea that Grant is perhaps a bit aloof and maybe even shy as a person. Folks like that always get a raw deal because other people project their own insecurities onto them. Whereas Robert seems to be pretty gregarious. I'll need to re-read the book to see if I notice any bias against Grant. | ||
| david nichols |
Any anti-Grant bias is unintentional. | ||
| michael |
I disagree with the anti-Grant factor in David's book. I loved the book and have a couple of people in mind for birthday presents, not that you're into unit shifting anyway David, but there you go. I thought it gave a lot of insight into the two blokes, their competitive environment and friendship. The descriptions of Brisbane around the early 80s were vivid for me having been around then, altho I was a little young to remember the xeros and the late 70s music scene.I agreed with what Grant says near the end of book that he would have liked to see more written about the songs but I suppose that may be another book? | ||
| PeteAzzopardi |
That's not a bad idea, Michael. Perhaps it could be put together from fan responses in the lyric discussion section of this message board (with some heavy editing and a rigorous selection process). Of course, it could include my guitar tabs too. You could call it: "Part Company: the lyrics and music of the Go-Betweens" or cue some other pretentious name. | ||
| Duncan H |
"Any anti-Grant bias is unintentional." I'm happy to hear it. Maybe I was just reading too much into the difference between my opinion of the music and that expressed in the book. | ||
| michael |
Pete, I can see it now the lyrics explained and the tab in neon. When do we start on the book. We'd have to get some interviews with the boys. Start a subject at queensland/melbourne uni - Go-Betweens 101. By the way pete have you looked at Cattle and cane? | ||
| Pete Azzopardi |
Michael, why wait on the book? Re looking at 'Cattle and Cane': did you mean as a tab? Tabs in neon might look a bit gaudy, don't you think? | ||
| michael |
Yes the tab for Cattle and Cane. The notes I can play, but can you add any chords. Its fairly sparse, seems to be in F and on the video Robert is playing some unusual chords or perhaps just 2-3 note chords up around the 7th fret which at the start of the song is an E shaped chord on the top three strings i.e E 8, A 8, D 7. | ||
| Pete Azzopardi |
Will get on to it next. As I recall, Grant plays the one repetitive riff through the whole song and there are two acoustic guitars playing different things throughout. I don't recall many actual chords though, except for the G in the "memory wastes" bit. I think it's a song worthy of a bassline transcription also. BTW Michael, I spoke to my friend in Cygnet last night and he's cleaning the Red Velvet lounge three nights a week. How about that! | ||
| michael |
Indeed, small place. Maybe no chords as you suggest? | ||
| Pete Azzopardi |
No, there's a couple of chords. Sorry, I'm a bit busy at the moment but I'll get around to it soon. | ||
| Randy Adams |
I believe "Cattle and Cane" is literally a COUPLE of chords, as in two. A nice exercise in the power of simplicity. |