KARAOKE KLASSICS

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I’ve never hidden my love for cover versions having featured many hundreds of them over the years at this and the old blog. Here’s three of the more unusual examples of the genre that I’m fond of:-

mp3 : Black Box Recorder – Uptown Top Ranking

Yup, it is a cover of the #1 single by Althea & Donna back in February 1978…..one that takes what was a perfect pop/reggae single and turns it something quite disturbing and haunting. Not sure how many of you will actually like it, but there’s something quite erotic about the vocal delivery by Sarah Nixey ‘see me in my halter back, see me give you heart attack, give me little bass, let me wind up my waist…’

mp3 : Martin Gore – Loverman

Yup, it’s the fella out of a band that I was never that keen on after Vince Clarke left them….this takes something that was quite disturbing and haunting and turns into something quite poppy and disposable. Not sure how many of you will actually like it….I mean where Nick Cave sounded menacing and a danger to society, this could almost pass as a version you’d hear on Pop Idol or X-Factor.

mp3 : Cake – I Will Survive

The best cover versions are by those bands and singers that take something incredibly well-known and turn into something that something that sounds like one of their own originals (see The Wedding Present on just about every occasion). If you like the sort of stuff churned-out over the years by Californian alt-rock act Cake, then you’ll adore this. If you consider the disco-classic to be sacred, you’ll hate it. For the record, I adore the original, but I want to be counted in, if not quite a loverman of the cover, then an admirer.

Enjoy.

AN IMAGINARY COMPILATION ALBUM : #101 : JOHNNY MARR

There was a request made recently for a Johnny Marr ICA to complement the efforts (# 96 and #97) afforded to his former band mate.

What follows aren’t by any stretch of the imagination the best tracks that he’s played on but they do serve to highlight some of the diverse acts he’s been involved in, either as a member or as a guest musician, presumably being paid union rates.

Side A

1. Native Land – Everything But The Girl (1984)

So let’s start by actually featuring something he played on while he was in The Smiths. I wrote about this on the old blog back in 2011 and will just regurgitate those words one more time:-

The decade that was the 80s is one that divides opinion on whether it was a good era for music. On the one hand, there were some really appalling things inflicted upon us…..Jive Bunny, Shakin Stevens, Joe Dolce, The Birdie Song, Cliff Richard being #1 every Xmas, Bucks Fizz, T’Pau, Bowie & Jagger destroying Dancing In The Streets, Agafuckingdoo, Phil Collins, Billy Joel and soap stars becoming pop stars (Kylie Minogue excepted!!)

But on the other…..well, there’s been loads of great and often long-forgotten bands featured here on TVV which hopefully more than make up for the monstrosities listed above (many of which remain staple diets of loads of ‘classic’ radio and video stations).

The track featured today came up on random shuffle on the i-pod the other day. It’s one that sums up a lot of the 80s for me….new emerging bands that made intelligent pop records that were jaunty and upbeat…the soundtrack to the seemingly continuous demonstrations against the bomb, nuclear power, the ideologically-driven attacks against the coal industry, the apartheid regime, homophobia, racism and Thatcher/Reagan. Every other weekend in 1984 I seemed to be off somewhere or other determined to make my voice heard…

The line-up on this single was an indie supergroup with Tracey Thorn and Ben Watt being joined by Phil Moxham of Young Marble Giants fame on bass and June Miles Kingston who was part of Fun Boy Three and later on was with The Communards playing drums. Oh and Johnny Marr played harmonica…..

The single should have been a big hit. But it only reached #73 and it would take another four years and a cover version for EBTG to enjoy real success.

(The b-side of this single, Riverbed Dry, is at the foot of this post as an mp3; but Jonny didn’t play on that)

2. Up Against It – Pet Shop Boys (1996)

Johnny had of course worked previously with Neil Tennant in the early days of Electronic and so it can’t have been too much of a surprise to receive a call asking if he could add his talents to what they felt was a ‘guitar-sounding song’ that was to feature on the next Pet Shop Boys LP. The song turned out to be Up Against It which is tucked away as the eighth track on Bilingual – the backing vocals on the song were seemingly an idea hatched by Johnny in the studio on the day he went into record his part.

3. Get The Message  – Electronic (1991)

I love how the first few bars of are so reminiscent of a slowed-down Bigmouth Strikes Again before Bernard Sumner adds his special ingredients via the keyboards and vocals. In 2007 Johnny Marr said it was “…maybe the track I’m most proud of out of my whole career”, while in June 2009 he reiterated that it was “the best song I’ve written”. That’s good enough for me to make it the centrepiece of the first side of this ICA.

4. Rolling Back The Rivers In Time – Girls Aloud (2008)

As part of a feature in music magazine in 2012, Johnny was asked ‘ What possessed you to work on Girls Aloud’s last album?’

His reply was that he was evangelical about pop music and the idea that pop is crass and commercial is an old-fashioned rockist conceit linked to the whole “Disco Sucks” campaign. He added that he had always seen The Smiths as a pop group and cited that Sparks, Roxy Music, Bowie and Sweet all made great pop 45s, stating that he wanted to hold on to the nobility and aspirations of pop, and what it can be.

Until I looked at what could feature on this ICA, I had no idea he had played with Girls Aloud. Makes me smile and a wee bit proud that as far back as December 2006, over on the old blog, I sang the praises of this particular all-girl band. I revisited the post in August 2013.

5. Love Is Stronger Than Death – The The (1993)

Strange as it may seem, but Johnny was part of The The for a longer period that he was in The Smiths, albeit his tenure from 1988-1994 only involved two albums, both of which were the most commercially successful in the long career of Matt Johnson. This wonderfully sad song, written by Matt following the death of his brother, is as far removed from the sound of early The The as can be imagined – indeed, it is such a powerfully delivered number that you can imagine it belonging to the arsenal of the big stadium rockers of the era – but thanks to Johnny’s contribution on guitar and harmonica nobody, no matter how talented they are as a vocalist and whoever they got in beside them to work on the arrangement, could dream of ever topping the original version….which may well be why nobody has tried (to the best of my knowledge).

SIDE B

1. Shirley – Billy Bragg (1986)

This is the a different recording of Greetings To The New Brunette, the track which opened the LP Talking With The Taxman About Poetry. Much more of a band effort than the better known version, there’s a lot of Johnny on guitars and harmonica. Was tough to not feature Kirsty MacColl on backing vocals but I can more than make up for that with….

2. Walking Down Madison (LP version) – Kirsty MacColl (1991)

As mentioned in a previous posting, it was just a week after the break-up of The Smiths that Johnny penned a tune which he quickly sent onto Kirsty who, at the time, was needing a bit of help overcoming writer’s block. Although it would take four more years before the tune was made available, the addition of lyrics, melody and a touch of rap brought about a Top 30 hit in the summer of 1991.

3. European Me – Johnny Marr (2013)

His decision to throw caution to the wind by writing and recording under his own name, and indeed taking lead vocal, took a fair few folk by surprise. There’s nothing particularly earth-shattering about the songs on the two albums to date – The Messenger (2013) and Playland (2014) – with them being a blend of solid guitar solos and melodies tacked onto the verse-chorus-verse approach that has been the most solid of foundations for rock and pop music since the genres came into being. What was more interesting was that he threw himself wholeheartedly into being an out-and-out frontman for the first time in his career which, in a live setting, meant also singing lead on numbers he had written with Morrissey. It was a beautiful contrast that he was determined to play the songs as close to the renditions from the 80s as possible while his more esteemed former band member was going down ever increasingly rockier takes to utilise the talents of his own backing musicians.

It also meant that Johnny had to face up to and deal with questions from the press on the increasingly bizarre outbursts from Moz, including his views and opinions on race and politics; to his credit, Johnny has more or less avoided any slanging matches simply pointing out that his own beliefs on what makes a just society haven’t changed all that much since he was a teenager. Given all this, I felt the title of this song made it a certainty for the ICA. Oh and for the fact it owes more than a small debt to Penelope Tree by Felt.

4. Dashboard – Modest Mouse (2005)

I can’t claim to be any sort of expert on Modest Mouse; I do know however, that their 2004 single Float On is an exceptionally enjoyable few minutes of indie pop music. That however, pre-dated Johnny joining the band in 2006, being part of the ensemble who wrote, recorded and toured the LP We Were Dead Before The Ship Even Sank which hit the shops the following year.

The album got a lot of positive reviews and featured highly in a number of end of year critics polls, but I’ve always found it a bit of a difficult listen with too many of the songs seeming to last maybe 45 seconds or a minute beyond what they should have been – almost as if the musicians were just to keen to show off their skills at the expense of tightening up on the numbers. It’s also in many places, very reminiscent of the sort of music that had propelled Arcade Fire to fame and fortune. The lead single, which appeared some two months in advance of the release of the album, remains a very fine listen, clearly benefitting from Johnny’s input as a player and writer.

(as with the EBTG single, I’ve made the b-side available as a bonus track to the ICA)

5. Hand In Glove – Sandie Shaw (1984)

The debut single by The Smiths had been a relative flop. Now that they were famous and the ever-increasing numbers of fans were snapping up everything, the idea of re-releasing Hand In Glove with Sandie Shaw on lead vocal was an inspired one. The three boys in the band re-recorded their bits and Moz watched on from the sidelines as Sandie demonstrated how to give it the big vocal treatment. It reached #27 in April 1984, enabling an appearance on Top of The Pops in which they boys appeared sans shoes in homage to the singer as she had done this more often than not at the height of her fame in the 60s. Sandie kind of threw Moz shapes in what has become a legendary performance.

Enjoy!!!

Bonus songs:-

mp3 : Everything But The Girl – Riverbed Dry
mp3 : Modest Mouse – King Rat

JC

THIS HAS TO BE SEEN TO BE BELIEVED….

I had this crazy notion that I’d go out and find cover versions of all the singles that were released on Postcard Records and pull together a short series for the blog. Indeed it crossed my mind to make it a regular for Sundays over the next few months.

But finding this stopped me in my tracks.

Try as I can, I’m unable to give you anymore info on this amazing piece of footage from Japan. They also lovingly do another great Postcard record:-

Oh well…….here’s the one Postcard cover most folk will be aware of.

mp3 : Propaganda – Sorry For Laughing

And no, that’s not meant as an intentional pun on the video clips which I happen to think are quite brilliant.

THE UNDERTONES SINGLES 77-83 (Part 1)

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I don’t feature The Undertones too often on this blog, mainly as I have a huge dislike for Feargal Sharkey in his latter-day role in the music industry when he was the bulldog who attacked bloggers.

But it does make sense to have them follow on from Buzzcocks in this slot given that they too have reformed and enjoyed success in the live setting many years after first bursting onto the scene. I was actually due to go and see them in Glasgow just over two weeks past, but a bout of ill-health confined me to the house (it also prevented me seeing Trash Can Sinatras a few days prior).  I’m told I missed two unforgettable evenings by those who were there.

It’s worth using suff from wiki to get an idea of how The Undertones came into being:-

The Undertones formed in Derry, Northern Ireland in 1974. The band members were five friends from Creggan and the Bogside, who originally drew inspiration from such artists as the Beatles, Small Faces and Lindisfarne. The band initially rehearsed cover versions at the home of the guitarists, brothers John and Vincent O’Neill, and in the shed of a neighbour. In early 1976, before the band had played gigs at any venues, Vincent O’Neill left the band being replaced by his younger brother Damian.

Beginning in February 1976 the group began playing at various minor local venues, including schools, parish halls and scout huts, where the band’s lead singer, Feargal Sharkey, was a local scout leader. With the arrival of punk rock in late 1976, the artistic focus of the band changed. Artists such as the Adverts, Sex Pistols, the Buzzcocks and, particularly, the Ramones became major influences on the Undertones.

By 1977 the band were performing their own three-chord pop punk material alongside cover versions at concerts. By mid-year they performed concerts outside Derry for the first time. In March 1978, the Undertones recorded a demo tape at Magee University in Derry and sent copies of the tape to various record companies in the hope of securing a record deal, but only received official letters of rejection.

The band had also sent a copy of their recordings to influential BBC Radio 1 DJ John Peel, requesting he play the songs on his radio programme. Peel replied to the band, offering to pay for a recording session in Belfast. On 16 June 1978, the band recorded their debut four-song EP “Teenage Kicks” on a budget of only £200. The EP was engineered by Davy Shannon at Wizard Sound Studios, Belfast – and was released on Belfast’s Good Vibrations record label. The title song became a hit with support from John Peel, who considered Teenage Kicks his all-time favourite song, an opinion he held until his death in 2004.

In June 1978, these were the ages of the band members:-

Feargal Sharkey (vocalist) : 19
John O’Neill (rhythm guitar/vocals) : 20
Damian O’Neill (lead guitar/vocals) : 17
Michael Bradley (bass) : 18
Billy Doherty (drums) : 19

It’s genuinely scary that five blokes as young as that could come up something as unforgettable as this:-

mp3 : The Undertones – Teenage Kicks

The song dated back some 12 months prior to its recording and so its writer, John O’Neill was still in his teens at the time. Within a month of it being released on Good Vibrations the band had been snapped by Sire Records who re-released it on 14 October 1977. Three weeks later, it peaked at #31 in the UK singles charts.

A copy of the single on Good Vibrations is worth a small fortune nowadays.  Sire had the decency to include all four tracks when they released it.

mp3 : The Undertones – Smarter Than U
mp3 : The Undertones – True Confessions
mp3 : The Undertones – Emergency Cases

Four songs with a combined running time of under 8 minutes. An EP completely of its time and yet timeless. Oh and the use of the letter ‘U’ instead of the word predates that very practice by Prince by quite a few years. Maybe the purple one had picked up a copy while browsing through the record stores of Minneapolis….

Oh and if True Confessions had been released on its own as a 45, it would be surely been a massive hit and almost as fondly regarded as the lead song.

Enjoy.

SATURDAY’S SCOTTISH SONG : #51 : CHAMPION DOUG VEITCH

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From wiki:-

Douglas Veitch, better known as Champion Doug Veitch (born 1960, Hawick, Scotland) is a Scottish musician and songwriter.

The self-styled ‘King of Caledonian Swing’ rose to some prominence in the mid 1980s.A favourite of John Peel, for whom he recorded two radio sessions, he holds the record for having most (six) consecutive NME singles of the week. His music was a ground-breaking polycultural mix, using elements from dub, reggae, country Music and Scottish folk music, which foretold the cross cultural mixing more common in later years.

In 1985, he co-founded the label DiscAfrique with his colleague Owen Elias, which was one of the first world music labels in the United Kingdom, releasing records by The Bhundu Boys, Orchestre Baobab and The Four Brothers amongst others.

In 1989, he released an album of Scottish country dance music with his wife under the moniker Martin, Doug and Sara.

And from his own website, a more recent update:-

In 1989, Doug released a compilation album, “The Original”, which included all the singles plus tracks from radio sessions.

This album featured all of Doug’s musical influences, from Country, Reggae, Mariachi, Western Swing, Cajun through to the High Life guitar music of Ghana. The album gained much media attention from the press. Despite renewed interest, Doug remained a virtual recluse and could not be persuaded to perform live.

However, in the summer of 2014, Doug replied to a Facebook post from Pete Lawrence (Making Waves) regarding “Reeling” – an album of Scottish dance music that Doug had released with Martin Bell. This led to a discussion on the prospect of playing a live gig. After a gap of some thirty years and largely due to the efforts of Martin in sourcing a truly all-star band, in February 2015, Champion Doug Veitch made a “triumphant and joyous” return at the 100 Club in London.

www.cdveitch.co.uk

I only own a couple of the singles from the 80s and one of these has featured previously on the blog. So here’s the other:-

mp3 : Champion Doug Leitch – Jumping Into Love

From 1985. It didn’t chart.

AN IMAGINARY COMPILATION ALBUM : #100 : THE LIBERTINES

A GUEST POSTING FROM BADGER

An Imaginary Compilation – The Libertines

This the second half of the journey back from Cambridgeshire – the sister bit to SWC’s one about the Jesus and Mary Chain (oh and I agree – where was ‘Upside Down’). Its been delayed a bit because events overtook us. I did start it – I’d chosen the tracks and had actually written the majority of it but then my bollocks swelled up and I kind of forgot about everything, which I think you can forgive. Everything from the words ‘The Journey…’ was written about eight weeks ago, it sat unloved on my computer at home. I only found it this morning and added this paragraph.

The journey back was thankfully uneventful, apart from the service station incident.

We stopped off at a Service Station on the M42, I think it was called Hopwood Park, it was very good. We are sitting in the café and SWC is warbling on at me about the football, he moaning that his team have lost again, but I am distracted.

Sitting opposite me, with a lady who has her back to me, is Keith Chegwin. Cheggers Plays Pop, tackle out for a Channel Five Game Show, Keith Chegwin. He is drinking a large cup of coffee and has what looks like a Burger King Whopper and Supersized Fries in front of him. Its definitely him. I’d recognised his squashed up, punched too often by Edmonds, face any day of the week. I haven’t been this excited about seeing a celebrity since the time that Martin Clunes stood behind me in Exeter’s Marks and Spencers and I’ve taken a piss next to Chris Kamara, so you can imagine how excited I am.

SWC stops and moans at me a bit more “Are you even listening to me, I said, that’s what we get for appointing ex Spurs players as a manager”.

I shake my head and mouth ‘Cheggers is behind you’.

“What?” he says.

I don’t want to draw attention to the fact, that its him. Literally no one else has approached him although, a women keeps looking at him and smiling – I mean why wouldn’t you – its Cheggers.

I text SWC. Yes, I know he is sitting opposite me, but I can’t just tell him, what if Cheggers hears me. “Keith Chegwin is sitting behind you and he has tomato sauce on his shirt” (he has, he has made the school boy error of trying to eat his burger in one go and the sauce has squirted out) I type. SWC’s phone buzzes and he looks at it – then looks at me, and then looks at the text again.

He texts back “Why didn’t you say so?” , he then does this little turny head thing and pretends that he is tying his shoelace before declaring “yup its definitely him, shall we go and say hello, I wish I’d bought my copy of Brown Sauce’s ‘I wanna be a winner’ with me. I could have doubled the price of it by getting it signed.”

“You don’t own that” I say

“I bloody do, I got it on 7” for 50p at a boot fair in Axminster about four years ago – along with ‘Atmosphere’ by Russ Abbot, ‘Kings of the Wild Frontier’ by Adam Ant and ‘D.I.S.C.O’ by Ottawan but only because it had a French version on it. The I stands for ‘Incroyable’, total spend 80p”.

I look up, the women from across the seating is now having her photo taken with Chegwin. He gives her a peck on the cheek, much to her delight. A few more people, mainly sad older women in sports casuals are now starting to queue up to have their photo taken. Cheggers is loving it though, despite the fact that he has tomato ketchup on his face and shirt and his chips are getting cold. Come to think of it, he’s a bit of an idiot.

“The moment has gone” I say to SWC, who looks disappointed and we finished our drinks and get up to leave, not before I say, rather too loudly, “John Craven would have never had his photograph taken with tomato sauce on his face”. SWC nods in agreement before adding “and I always preferred Philbin. I’m pretty sure that Cheggers heard us, because he has wiped the sauce of his face and is scowling slightly.

Back to the music, which what we are here for after all. The 11th song was by The Libertines. This feels me with joy, I already knew this when we saw Cheggers, it kind of was the precursor to a great day. A tremendous choice. When I told SWC told JC about our randomly picked choices he said “It just goes to show, crap football equals excellent ICA’s”. Absolutely.

So – an ICA on the Libertines – here goes – I’ve tried to keep it singles light and I have completely ignored the third album on the grounds of being utter rubbish. I’ve kept the notes short because the tunes speak for themselves.

Side One

Can’t Stand Me Now – Single

I’ll start at the very top I think. Easily the bands finest moment, and put simply one of the greatest indie guitar records of the last fifteen years or so. I would imagine that you all own this. I wanted to include it over at my place in the WYCRA 200 (sorry shameless plug that) but we’d already featured it before so had to leave it out – but had we it would have been Number 7 in that list.

Don’t Look Back Into The Sun – Single

The song that replaced ‘Can’t Stand Me Now’ in the WYCRA 200 and therefore the band’s second finest moment. The single that was supposed to be the ‘goodbye’ record from them. Again I’d be surprised if anyone reading this didn’t already own a copy. So let’s go down the slightly obscure route…

The Delaney – Taken from ‘I Get Along EP

I saw Babyshambles live a few times and was once surprised to hear them playing this, but then again this has always been something of a fans favourite. The original version appears as the B Side to the second Libs single ‘Up the Bracket’. Easy to see why it’s a fans favourite though.

All At Sea – Taken from ‘What Became of the Likely Lads?’

This was originally supposed to have been on the debut album but was scrapped at the very last minute, and then surfaced as the B Side to the ‘…Likely lads?’ single. It also happens to be an outstanding little track.

Music When the Lights Go Out – Taken from ‘The Libertines’

Peter Doherty once played this track live on Newsnight and again is a tremendous little song. It is that is credited to Peter Doherty and Carl Barat and appears on the second album. The song deals with the problems of trying to end a relationship. It was one of the first songs (along with ‘Albion’ that Doherty wrote (and I cut ‘Albion’ to include it). It is also a song that apparently Pete and Carl physically fought over during the second album sessions because of the way that they wanted to record it.

Side Two

Boys In the Band – taken from ‘Up the Bracket’

Apparently named after a 1970 film of the same name, which was one of the first films to openly address gay issues. This song however is about groupies and how they follow and worship bands. It is a song about attention and how easy it is to get it when you are a boy in a band. The line ‘And they all get them out for the boys in the band’ is apparently about red carpets. So they say.

Never Never – Taken from ‘Can’t Stand Me Now’ single

Another firm fans favourite and again a track that was meant for an album but was cut at the last minute. The original version of this was called ‘Never Never (Hancock)’ and was something of a mythical release in which the band recorded the track and added a load of samples from the Hancock Half Hour TV Programme. The recording as far I know was never (never) released.

Death on the Stairs – taken from ‘Up the Bracket’

Carls favourite Libertines song and one that the band have admitted that they find very hard to play live. This is largely because the band could never seem to get it right. The song is about madness and Carl often refers to seeing himself sitting alone in a bedsit eating beans of toast and he called that feeling ‘Death on the Stairs’. Although Pete claims that they called it that because they got thrown out of a record company’s office and down the stairs. Personally I believe Pete.

What Became of the Likely Lads – Single

The bands eventual final single (before the reformation). The song is obviously about the breakdown of the band – you can hear that in the lyrics “What became of the dreams we had?” and “What became of forever?”. Its another brilliant sad, although one tinged with sadness and poignancy. Interestingly the video shows footage of two young boys (actors) on a council estate, which is implied to be Pete and Carl (but in reality can’t be them)

I Get Along – From ‘Up the Bracket’

The first Libertines song I ever heard. It was the second track on their debut single ‘What A Waster’. That song was written by Doherty about Doherty and the legend goes that ‘I Get Along’ was written by Barat about Barat. It was eventually released as a single on its own and famously Doherty forgot to turn up for the video shoot.

Thanks for reading…I’m off to stalk John Craven.

BADGER

AN IMAGINARY COMPILATION ALBUM : #99 : THE GO-BETWEENS (Vol 2)

I said most of what I had to say yesterday. Here’s some more great songs.

Side One

That Way from Before Hollywood (1983) : lead vocal by Grant McLennan

Until now, I don’t think I, or indeed anyone, has ever opened up an ICA with the closing track of an LP. It just goes to show how many great songs there were back in the day that they could put this gem at the end.  It certainly would make you want to get up and turn the record back over immediately.

The House That Jack Kerouac Built from Tallulah (1987) : lead vocal by Robert Forster

Having failed to crack open the markets with the first four albums, everyone involved threw the kitchen sink and the rest into the recording of Tallulah including the addition of a fifth member on violin and oboe. It was a record greeted with some scepticism on its release as a result of to its lush production and move away from indie-guitar pop, but which is now regarded as a bona-fide classic.

The Wrong Road from Liberty Belle and The Black Diamond Express (1986) : lead vocals by Grant McLennan

The thing is, the path that would lead to Tallulah had in some ways been set by this track from the album released the previous year.  The addition of violin, cellos, viola and organ take this to places the band hadn’t explored before and the result was one of their finest ever songs.  Epic.

Was There Anything I Could Do? from 16 Lovers Lane (1988) : lead vocals by Grant McLennan

FFS. How did this single not get any airplay?

Surfing Magazines from The Friends of Rachel Worth (2000) : lead vocal by Robert Forster

Here’s a band that came out with some of the best lyrics of their generation falling back on a variation of la-la-la-la-la for the chorus and pulling it off with some style.

Side Two

Bye Bye Pride from Talullah (1987) : lead vocal by Grant McLennan

In which the decision to bring in a new member who plays oboe is totally justified in four minutes flat.

Rock and Roll Friend b-side to Was There Anything I Could Do? (1988) : lead vocal by Robert Forster

A song that became synonymous with Robert’s efforts to get back in the saddle after Grant’s shock death in 2006.  It must have been very tempting just to pack it all in. Instead, he went into the studio and recorded The Evangelist, his first solo LP in 12 years and hit the road and in every show he played this (a song he had re-recorded himself in 1996) and dedicated to his late band mate.  It’s worthy of a place on this ICA for that alone notwithstanding it is such a fine number.

I Just Get Caught Out from Tallulah (1987) : lead vocal by Robert Forster

Another great little failure of a pop single.  I defy you to listen and not dance.

Dusty In Here from Before Hollywood (1983) : lead vocal by Grant McLennan

A  ballad just to mix things up a bit and because it fits in well at this point on this ICA.

Dive For Your Memory from 16 Lovers Lane (1988) : lead vocal by Robert Forster

Couldn’t think of a more fitting way to end this ICA. The other song that Robert often dedicates nowadays to Grant; there’s something poignant that he once wrote a line ‘I miss my friend.’

Don’t we all?

Bonus 45 : The debut single from 1978.

mp3 : The Go-Betweens : Lee Remick
mp3 : The Go-Betweens : Karen

Tune in tomorrow for ICA #100 as it features a tale and a half from Badger.