ARTICLES


DISCOGRAPHIES:  THE GO-BETWEENS:  ALBUMS  |  SINGLES  |  SOLO:  ROBERT FORSTER  |  GRANT MCLENNAN

[UNDER CONSTRUCTION]


 

Articles index

1982

In between the Go-Betweens

1982

No shoe shops for Go-Betweens

1982

Send Me A Lullaby (review)

1982

King Trigger / The Go-Betweens

1982

The Gentle Three-Headed Monster

1982

The Go-Betweens / Laughing Clowns

1982

The Go-Betweens: Will this lullaby end their slumber?

1983

Orange Juice / The Go-Betweens

1983

Exiles from the lost Australian Dream

1983

The Smiths / The Go-Betweens

1983

Up From Down Under

1984

Money Can’t Buy You Love

1984

Remembrance and Visions of Hope

1986

Stars of the underground

1987

The Go-Betweens

1987

Of Skins and Hearts

1987

Power to imperfect pop

1988

The Go-Betweens

1988

Growing up gracefully

1988

Driving along Lovers Lane

1988

Love Notes

1988

You can go home again

1989

Go-Betweens aim to strike public chord

1989

The Go-Betweens

1989

Inbetween Days

1989

The Go-Betweens

1989

The Go-Betweens

1990

What you call change

1990

A Go-Between goes it alone

1992

Rock de Lux Questions the Go-Betweens Break-up

1992

Forster/McLennan: no Go-Betweens Reunion

1995

The Australian Go-Betweens Show: Forster Interview / Grant McLennan & Robert Forster at The Zoo

1996

Robert Forster, Grant McLennan and the Go-Betweens canon

1996

Gazing On A Sunny Afternoon

1996

The Go-Betweens

1997

Part Company — Again

1997

Interview with Robert Forster

The Go-Betweens

Mark Jenkins — Washington Post, 21 April 1989

A sympathetic reviewer once likened an early Go-Betweens album to a poetry reading, but Wednesday night the brilliant Australian band dispelled its bookish reputation with its most musical 9:30 club performance yet. The group, expanded from a trio to a quintet since its poetry-reading days, now has at its disposal a wide array of timbres (latest addition Amanda Brown provides violin, oboe, guitar and backing vocals) and a new-found rhythmic confidence.

Though the band’s recent 16 Lovers Lane album has a light, acoustic sound, at 9:30 only The Devil’s Eye was played thus. Instead, the backbeat came up front, with Quiet Heart given a primal pulse and Streets of Your Town a funky swing. These surprisingly loose-limbed arrangements didn’t always improve on the recorded versions – Grant McLennan’s full-bodied melodies generally fared better than Robert Forster’s lean ones – but they showed that the Go-Betweens have achieved a musical playfulness worthy of the verbal wit for which they’ve long been known.