"It's good to be back home" is The Go Betweens opening
quip. It's over 10,000 miles from Brisbane to Glasgow.
I'd always assumed a certain affinity between the Go Betweens
and Glasgow. I believe they stayed here for a time in the early
eighties. At a show many years ago Robert introduced "The
Clark Sisters" as about "two girls I knew in Glasgow".
I'd also assumed the 2 sisters lived above Changes bookstore in
Glasgow's west end; of course Postcard Records released the "I
Need Two Heads" single in 1980. The Go Betweens have come
a long way.
There was a grinning nodding approval as Grant launched into
"Finding You". The vast majority of this audience has
grown (old) with the Go Betweens. The welcome was the warming
embrace of a relative returning for Christmas not hysteria of
new found friend. Robert took centre stage physically and metaphorically
for this performance, between song perched, inviting a heckle
from the audience, none where man enough to take on this quick
wit. Most of "Oceans Apart" featured on tonight's set
list of mostly post reformation Go Betweens material, a couple
of "Bright Yellow, Bright Orange" tracks and a couple
more from "Rachel Worth" interspersed with eighties
classics.
It is commonly agreed with Go Betweens aficionados that Grant
and Robert are good for each other. Robert's more extroverted,
wry leanings tempered by Grant's pop craft or Grant's more MOR
balladry tempered by Roberts folk art leanings.
"Surfing Magazines" and "German Farmhouse"
are the low points on 2002's "Rachel Worth" however
live they offer a bit of a relief. Certainly in the live shows
of post reformation Go Betweens we don't see Robert's stage antics
of his solo shows. A serious concentration on maintaining the
Go Betweens legacy perhaps, or just behaving in front of the family.
Grant on the other hand waits his turn. Grant has a craft. There
is a similarity in McLennan songs but not a samey-ness. There
is a familiarity in new songs like "No Reason to Cry";
Grant know's his craft, his style and works around this common
chord progression and pace.
I tend to agree Grant and Robert complement each other.
"Oceans Apart" is named after a bar in London near
where the album was recorded. This must have seemed like an apt
title. Robert and Grant have been oceans apart over the years
physically, musically and perhaps even personally. Much of the
post reformation recordings feel like solo recordings brought
into the band. "Oceans Apart" is more coherent in that
part, however if there is not oceans apart there is still a distance.
"Here Comes the City" is Robert's nod to the new wave
of new wave of new whatever, remember the originators. A cool,
contemporary, 21st century cityscape. A pop single that's nice
to the sweet tip of the tongue
"Oceans Apart" is an album of fine intros and great
outro's. There is a lot of care for the construction, gently brushstrokes
here, dabs there, at first not quite noticing then finding a little
surprise in the corner of your ear. The sweeping Dylan-esque backing
vocals of "No Reason to Cry" and the be-bob crescendo
of "Darlinghurst Nights"
I liked the sound of the "Rachel Worth" album. There
was freshness, even naivety in that album, if anyone deserves
to be cynical of the music business it is the Go Betweens, however
"Rachel Worth" totally belies that. It has a bit of
an indie sound, maybe it's the background of the backing band
or an edgy-ness of coming back after all those years. I liked
this, it sounded like a late eighties/early nineties Flying Nun
record, think The Clean or The Bats of that period. A lot has
been made of the production on "Oceans Apart", described
as an eighties sound, even like "16 Lovers Lane". I
disagree with that, maybe it's the lessons learned from the eighties
or modern technology but the sound on "Oceans Apart"
is better.
Robert introduced a song with "a chord I learned from Roddy
Frame". Grant later cross referenced this in his introduction
and dedicated a song to Edwyn Collins (who was ill at this time).
It made me think of the respective careers of Forster/McLennan/Frame/Collins.
Each of great critical acclaim, yet Forster/McLennan did not enter
the public consciousness of these contemporaries, that a UK national
chart hit brings. However, the Go Betweens have a consistency,
longevity, a legacy that not many artists can claim
Lyrically "Oceans Apart" never caught me the way of
other The Go Betweens albums, this is not a wordy album, several
songs must only have a half dozen lines. "Oceans Apart"
is an album of sounds, of melodies, of moods. I love the mood
of "Boundary Rider", there is real desolate outback
feel.
It's a way with post reformation Go Betweens that Grant's songs
are quick to like on the first few listens yet Robert's become
the favourites. "The Mountains Near Dellray", is a fine
atmospheric number and continues The Go Betweens tradition of
ending with a slow burning melancholy number. "Apology Accepted",
"Dive for Your Memory", "When She Sang About Angels".
Ok, an occasional tradition. "Lavender" may be Robert's
high point of "Oceans Apart". Robert delivers too many
songs in that "Surfing Magazines" half talk, half parody
voice but this is classic Robert Forster.
"Oceans Apart" is a great album, no doubt about it,
it has been compared to eighties classics like "Tallulah"
and "Liberty Belle", only time will tell if that is
a deserving accolade. "Oceans Apart" has been well reviewed,
well publicised. There seems to be a confidence about the band.
They seem to be enjoying themselves.
One thing that strikes me about the Go Betweens, as they launch
into the encores of this show and finish with "People Say",
is that the Go Betweens could have picked 20 or so songs from
another 200 and it would still have been a great show. There are
many bands that I could say that about.
- June 2005
