Who should this review be written for? The fans who will buy this and draw their own worthy conclusions, or those who have never heard of the Go- Betweens? Yes Grant sings like a bird and gets his guitar to hum. Yes Robert paints his pictures and acts out his fantasies. Having said that, is to say that as a fan, I enjoy this album and expect to listen to it and enjoy it through repeated listenings.

For those who know nothing of the Go-Betweens, this Australian band has recently reconstituted itself with the original two members Robert Forster (rhythm and lead guitars) and Grant McLennan (lead and rhythm guitars), trading lead vocals, a new drummer and new bass guitarist. The band started in the late 70's when Robert and Grant met as film students. The band's membership grew to include Lindy Morrison (drums), Robert Vickers (bass), and Amanda Brown (various instruments backing
vocals), as their songwriting and playing talent grew. The band, to the disappointment of their growing audience, disbanded in 1990, after its recording 16 Lovers Lane failed to gain a significantly greater audience. Meanwhile, they continued to gather a cult following with their blend of Velvet Underground, Patti Smith, Jonathan Richman, Dylan, The Beatles, The Only Ones, and Monkees influenced music. They have often been compared to the Smiths and the Cure. In the early recordings especially, Robert's quirky lyrics and quirkier rhythms predominated. As they grew, Grant's melodic sense set a higher standard for both members to achieve. The lyrics of both writers continued to be a cut above the typical and ordinary. Oh, they had a few movie moments: Kingpin and Something Wild both contained Robert's Spring Rain.

After the band split, Robert and Grant put out solo recordings and Grant played with other bands, like Jack Frost and the Far Out Corporation. In 1995, Spin Magazine's "Alternative Guide" listed their compilation album 1978-1990 as 71st of the 100 Greatest Alternative Albums. In 1999, Robert Forster and Grant McLennan got back together to tour around their newly released "best of album" called Bellavista Terrace, and recently released "lost recordings" album of early demo material called 1977-1979. On that Tour, Robert and Grant apparently realized that something was missing or that something was still left to be done or said in the Go-Betweens partnership to work on. They recorded and released a new recording called "Friends of Rachel Worth." This recording added Adele Pickvance on bass and backing vocals, and two members of Sleater-Kinney. What did the fans think of FORW - on the one hand they felt it was not Robert enough, on the other they felt that Sleater-Kinney should have done more to create a more modern sound. Both of these may be fair comments in a perfect world where the Go-Betweens play Madison Square Garden and have morphed into the Rolling Stones, but Robert and Grant perambulate around a quirkier soundtrack where fans play a supporting role.

What is it that the Go-Betweens still have left to say? And why do they feel they need to say it together? For one thing, other than an occasional song in the past like "As Long As That," they each wrote their own songs as Lennon and McCartney did. In Bright Yellow Bright Orange, Grant and Robert actually wrote some of the songs together.

What is it they are trying to do? What they have always done. Robert wants to tell a good story - Grant wants to make you cry. How do they do it? Robert with his lyrics and Grant with his music. Both with the way they interpret what they have written.

Bright Yellow Bright Orange is a new album by the Go-Betweens. The members this time around are Robert Forster, Grant McLennan, Adele Pickvance and Glen Thompson. Additional musicians add cello and violin. The album opens with a whiff of La Bamba with a song sung by Robert Forster called Caroline & I. As is typical of Robert, this song rearranges the usual story of reminiscing about what may have been a teenage girlfriend or just a friend. Robert purposely lets the ambiguity steep. Unlike Billy Joel's Italian Restaurant, Robert has not made a grand opera of his memory. Musically this song seems always to be about to get out of control, but Grant's guitar work finds the rhythm section and reins them back in.

The second song, Poison in the Walls is sung by Grant. This song is one of Grant's deceptive lyric vs. Melody mixes. It takes a few listens to realize this is some kind of protest song. Well, as always you have to wipe your eyes from the sadness of the melody, before digging into the lyrics. Then, you realize this song is about how we have outgrown our youthful passion and idealism, but we don't know why or how this has happened, since we feel we were ready to serve if called upon. Although time may have overtaken us, we are still concerned. This just may be your father's Cattle and Cane.

The third song reintroduces us to Mrs. Morgan, perhaps the same one we heard of in Trapeze Boy from the first Jack Frost album, perhaps not. This song opens like a subdued Sweet Jane, sung by Grant. Once more rain plays an important part in their songs. I've noticed rain is an important character in songs by Australian and New Zealand artists. Once more, Grant leaves open the victor of the battle between Mrs. Morgan and the town. He starts off saying that the town was fed up, but we don't know whether they succeeded against her, or her vision of the rain prevented it. Ah well.

In Her Diary, follows, this number sung by Robert is one more song about the quirky people he has known, a small slice of life. In some way this song narrows and deconstructs Eleanore Rigby. He describes the simple act of someone looking through a diary and compares the language there to the language found on tombstones. This is Robert at his best.

The album next goes to the land of a near pop sound for Too Much of One Thing, sung by Robert, with a lot of additions, harmonies on the chorus and one verse by Grant. This song typically contains complex lyrics and engaging music much in the manner of Dylan or Leonard Cohen. This song is one of the pop moments on the album. Upon wiping away the shiny pop veneer, stronger material underneath is revealed. This song seems to be one that was written together.

Crooked Lines, sung by Grant, is another melodic heartbreaker. Grant's trying and failing to learn to get along better with his latest lost lover, a little too late.

Old Mexico, also sung by Grant, kicks up a bigger storm. The lyrics, melodic and rhythmic structures more complex than the previous song. The way that In Her Diary leads into Too Much of One Thing, Crooked Lines leads into Old Mexico. Other than Poison in the Wall, this is the most immediately likable, if not most accessible of Grant's songs on this album.

Make Her Day follows. This song sung by Robert has the structure of a Grant song, with rhythm by Robert. Is this because it was co-written or because Grant's guitar work is so intriguing? Another fascinating song about Robert trying to get along with a larger than life friend.

Something for Myself is Robert's last contribution to the album. Grant wanted to go to Mexico; here Robert contemplates going to Brazil. The last time Robert found himself in this mood, he ended up in a German Farmhouse. Maybe Robert's next album will be covered with salsa. In this one he remains Robert, after considering making changes to satisfy others. He determines that he is Robert for a reason.

Grant's final contribution is Unfinished Business. This song is clearly something for himself. This weepy piano ballad is the shortest song on the album and is slightly reminiscent of their earlier Dusty in Here. Maybe if they do this in concert they can also do Dusty in Here. (Just a thought Grant.)

Have the Go-Betweens accomplished any growth with this recording? The band has explored territory familiar to them lyrically and musically. They have given us a recording worth listening to and exploring for ourselves. Does it compare favorably with their earlier works? It is more controlled and more mature sounding. To those who have followed the band and know their earlier music, of course it does not have the freshness of finding the innovations that the earlier albums had; they now have a territory to explore rather than an unknown place to take themselves and us. However, the requirement of growth is a cold clinical type judgment that should not supersede how a good listen might lighten up a cold dark night.

Is this a great album? Of course it is. Will everyone like it? If they listen to it. Will everyone who hears it like it? That is the more likely question. With the music industry the way it is right now, not many people will likely hear it. I think that every discriminating music lover will love this album, and should rush to listen to the whole body of work of the Go-Betweens, their solo work and other collaborations, for you to find out how the Go-Betweens got here. Will all the Go-Betweens fans like this? No, because the Go-Betweens persevere in their famously fervent belief that the public will catch up to them rather than the other way around; they have never done anything to please a large crowd, why should they start now? It didn't happen for Van Gogh either while he was alive. But everyone should keep in mind the rumor that the Wallflowers have sold in total more records than Dylan and the Velvet Underground combined. Without Dylan and VU, rock today would be a greater barren wasteland. The Go-Betweens are about making music not sales. They are about making musical statements not compromises. Listen and enjoy.

© 2003 by David Hirsh and Bluemood. All Rights Reserved.

The Go-Betweens in New York, 25 November 2000:

Fortunately, we got to see the Go-Betweens at the Bowery Ballroom on Saturday night November 25, 2000. Unfortunately, they were the opening act and only played for an hour with no encore. The fans of Yo La Tengo, the featured band, appreciated the Gobees with loud applause and coming close to the stage (the latter is especially rare in New York for opening bands, since the fans of the featured band want the opening act to end as soon as possible. Often, unbelievably, the opening act is booed off the stage). The front row was filled, however, with Gobees fans. The band opened with "Dive For Your Memory" and ended with "Spring Rain." As usual they threw in a few unexpected songs. On this night "The Circle" from Robert's "Calling from a Country Phone," and "Haunted House," from Grant's "Watershed." The standards "Right Here," and "Core of a Flame," and "Streets of Your Town." Songs from the "Friends of Rachel Worth" included "Magic in Here," "The Spirit," "The Clock,""He Lives My Life,""When She Sang About Angels," "German Farmhouse," and "Going Blind."
On more than one occasion, Robert joked that they would play with other players most notably a percussionist when they come back from Massachusetts (they will also be playing in Philly before returning to NY) to play at the Knitting Factory on November 30; at one time saying that they would bring back some Modern Lovers in tow (for those who may not know the original Modern Lovers included Jerry Harrison (later keyboards for the Talking Heads) and David Robinson (later drummer for the Cars)).
Yes folks, the Gobees, on this occasion, were Robert, Grant and Adele - shades of the acoustic tour, but noisier [Grant practically salivated in our October 19, 2000 interview musing over a "noisier" version of "Core of a Flame"] (noise in this concert included one extra voice plus the bass guitar and occasional foot stomping to keep the beat at the beginnings of songs). But no percussion other than the natural percussion of guitars going full out.
I've noticed, at the CMJ concert and this one that Grant's and Robert's guitar playing has reached a new higher level of mastery and blending. Maybe some long time fans who have seen them over time and recently can remark upon the guitar work also in their reviews.
We look forward to seeing them at Maxwell's tonight on November 26, 2000 and at the Knitting Factory. In both places, the Gobees will be the featured performers and will play additional songs from their catalogue and they will be at liberty to play multiple encores.
Surprisingly and a welcome addition, T-Shirts featuring the Able Label single Lee Remick were for sale at $10 a pop.
Colette notes that she was not able to get a photo of Steve Miller in a compromising situation, but will keep trying.
Dave Hirsh
November 26, 2000

The Go-Betweens in New York, 25 November 2000:

Fortunately, we got to see the Go-Betweens at the Bowery Ballroom on Saturday night November 25, 2000. Unfortunately, they were the opening act and only played for an hour with no encore. The fans of Yo La Tengo, the featured band, appreciated the Gobees with loud applause and coming close to the stage (the latter is especially rare in New York for opening bands, since the fans of the featured band want the opening act to end as soon as possible. Often, unbelievably, the opening act is booed off the stage). The front row was filled, however, with Gobees fans. The band opened with "Dive For Your Memory" and ended with "Spring Rain." As usual they threw in a few unexpected songs. On this night "The Circle" from Robert's "Calling from a Country Phone," and "Haunted House," from Grant's "Watershed." The standards "Right Here," and "Core of a Flame," and "Streets of Your Town." Songs from the "Friends of Rachel Worth" included "Magic in Here," "The Spirit," "The Clock,""He Lives My Life,""When She Sang About Angels," "German Farmhouse," and "Going Blind."
On more than one occasion, Robert joked that they would play with other players most notably a percussionist when they come back from Massachusetts (they will also be playing in Philly before returning to NY) to play at the Knitting Factory on November 30; at one time saying that they would bring back some Modern Lovers in tow (for those who may not know the original Modern Lovers included Jerry Harrison (later keyboards for the Talking Heads) and David Robinson (later drummer for the Cars)).
Yes folks, the Gobees, on this occasion, were Robert, Grant and Adele - shades of the acoustic tour, but noisier [Grant practically salivated in our October 19, 2000 interview musing over a "noisier" version of "Core of a Flame"] (noise in this concert included one extra voice plus the bass guitar and occasional foot stomping to keep the beat at the beginnings of songs). But no percussion other than the natural percussion of guitars going full out.
I've noticed, at the CMJ concert and this one that Grant's and Robert's guitar playing has reached a new higher level of mastery and blending. Maybe some long time fans who have seen them over time and recently can remark upon the guitar work also in their reviews.
We look forward to seeing them at Maxwell's tonight on November 26, 2000 and at the Knitting Factory. In both places, the Gobees will be the featured performers and will play additional songs from their catalogue and they will be at liberty to play multiple encores.
Surprisingly and a welcome addition, T-Shirts featuring the Able Label single Lee Remick were for sale at $10 a pop.
Colette notes that she was not able to get a photo of Steve Miller in a compromising situation, but will keep trying.
Dave Hirsh
November 26, 2000

The Go-Betweens 11/11 Paris Show:
Online Les Inrocks report dated 11/12.

The Go-Betweens set the tone
for the entire evening of shows
at the La Cigale Club on 11/11,
an informal, surrealistic tone.
This was done before the shows
even began. Robert Forster, from the Go-Betweens,
was speaking with the lighting supervisor.
They were at opposite ends of the empty room.
Robert said in French, in the most
humorous way: "I would like some red...
a great quantity of red that is, and a
little white", imitating the way a specialist
and connaisseur in French wines, would
say this. Robert Forster was working on the stage lighting.
Were we having a delirious fit or what exactly
did we experience when the Go-Betweens took
the stage and started singing? Suddenly
it was the year 1988 again.
The Go-Betweens are back and exactly as
we remembered and longed for them.
Robert in top form. Grant too, sporting a
longshoreman woolen hat, a lasting angelic
smile on his face. Their reformation is not really a reformation,
for these Australians never really severed their mutual ties.
A demonstration of this was the fluid interplay,
quickly reestablished, of their guitars,
their voices singing again as one. There are not many band members:
The two compadres, a drummer who
does not take center stage, a bass player who
doubles as back-up vocalist and
replaces quite well the two blond women
who were part of the original band.
The setlist is a seamless conjunction of titles
from the Go-Betweens new CD, and some of
their defining classic tunes (Streets of Your Town, evanescent).
The happy mood of the crowd in the room
was easy to detect and a proof that the mix of songs
by the Go-Betweens was a successful and inevitable one.
The enigmatic title of their new CD, "The Friends of Rachel Worth,"
suddenly reveals its appropriateness:
We still don't know who
Rachel is, but she made many good friends on Saturday night.
(Editor's translation)

News on lesinrocks.com
The online version of the French music and culture magazine Les Inrockuptibles.
November 9, 2000.
The Go-Betweens.

The most unexpected reformation
of the year 2000 will probably be
remembered as the best and
happiest one in the history of pop music.
Since the 1989 break-up of their group,
The Go-Betweens, Australian songwriters and singers,
Robert Forster and Grant McLennan
have put out well-received solo albums and
performed separately. After this ten-year hiatus
the group reformed to record their seventh album:
The Friends of Rachel Worth.
They show again in this new CD the enigmatic grace
of their collaborative songwriting/ playing.
No trace of wear and tear. A timeless achievement.
(Editor's translation)

A June 2, 2000 article
from French mag Les Inrockuptibles:
The Go-Betweens Reform.

The Australian group The Go-Betweens
will be back here this Fall with a new CD
entitled The Friends of Rachel Worth.
They recorded it last Winter in
Portland, Oregon with the delicious
Quasi (Sam Coomes and Janet Weiss
from Sleater-Kinney); mixing was done in Munich.
The Friends of Rachel Worth
seem to be closer to Liberty Belle
and The Black Diamond Express than
the Go-Betweens last albums.
The Friends of Rachel Worth should be
seen as the official reformation of the
Robert Forster/Grant McLennan group.
Since their last collaborative work,
16 Lovers Lane, released in 1989,
they have released solo CDs.
The new CD's release date:
September 9. Jetset Records.
(Editor's translation)

The Friends of Rachel Worth (where is that other L)
by the Go-Betweens

There are few things in this life as good as a Go-Betweens CD
(No Danger in this Past)

a Review by Dave Hirsh

We are now officially Friends of the Friends of Rachel Worth, the first Go-Betweens CD since 16 Lovers Lane in 1988. The difficulty of approaching this CD becomes apparent to those familiar with their CDs/albums from Send Me a Lullaby through all their solo material, and Grant's other collaborations (Jack Frost and Far Out Corporation).
On the one hand, for those readers unfamiliar with the Go-Betweens, each song on The Friends of Rachel Worth is a gem. Magic in Here is another killer melody (by the renowned master of killer melodies) in which the lyrics don't truly reveal whether love is reciprocal or even whether the hero knows or cares. Orpheus Beach continues this theme. Musically, the Sleater- Kinney/Quasi contribution, show they are familiar with the Velvet Underground and many of the groups over the years who have modernized and updated the VU's sound (or caught up to the VU more accurately). The melodies of Grant's other songs The Clock, Heart and Home, and Going Blind will also compete in your mind for playing time well after you have turned off the CD and moved onto other things.
Robert's songs Spirit, German Farmhouse, He Lives My Life, Surfing Magazines and When She Sang About Angels, are all apparently autobiographical sketches of different times in Robert's life. Whether or not any of them are truly about events and people in Robert's life doesn't matter as much as the belief that after hearing them you believe that these mean something to him. And I do believe that when Robert was a child he read Surfing Magazines, that recently he lived in a German Farmhouse , that there is someone in Australia who is living the life that Robert would have led had he not followed his muse and who sits back there wishing he had followed his. Each song brings you to a similar conclusion.
For those familiar with the Gobees, (who know that Robert and Grant have always played the VU perhaps better than anyone (except perhaps Jonathan Richman in his Modern Lover days (and how in the world were they getting that sound?))), the question is whether this is the CD you'd expect after the pop perfect 16 Lovers Lane (look you don't have to like the direction but you gotta admit the truth of the assertion)? I think it is not. This is several steps removed perhaps backwards a little and perhaps forwards a little.
Let me explain. Please. Robert dominated the early CDs as Grant went from trying to imitate Robert to developing his own distinctive voice, always staying close to the pattern Robert had established; but usually with the following general rule: Robert's lyrics were more intriguing and delivery more charismatic in contrast to Grant's creating better melodies. Robert during this time went from being a quirky Jonathan Richman initiate to a more mature songwriter incorporating more and more pop elements until he started sounding like Grant. This was not a bad thing, but Robert's quirkiness was being rubbed away. This coming together was not surprising, since they shared writing credits for the music on most cds. Lyrics were usually credited to one or the other.
Since 16 Lovers Lane, Robert has gone back to a more distinct song writing style clearly evident on Friends of Rachel Worth. Grant, on his solo material and collaborations has experimented sonically and has developed a distinctive voice as well. 12 years later they get back together, and what may sound like a CD with two different singers and writers is really a group. No one can really question whether the Beatles from the White Album and beyond period was really a group even though many feel that the songs were more reflections of the individuals writing them than they had been in the past. Here, in an odd way, the songs sound as if they were influenced by the Go-Betweens or like a trial reconciliation after a legal separation. No matter, I repeat, each song on this CD is a gem. When you listen to a CD and after each song you say to yourself this is my favorite on the CD and should be the single you know you have a great one.
Once more Robert and Grant each prove that each separately and together is more than the usual songwriter or songwriting team. The only flaw is that the CD does not contain a lyric sheet. As usual with the Go-Betweens, to get the full flavor the songs require close listening. The music can be deceiving particularly Grant's pretty melodies may make you think that everything is wonderful. Don't be fooled. Just go forward, as Robert had previously demanded, with a headful of steam.
After hearing this CD, I am waiting with eager anticipation for the next, because I know that I will once again be hearing a great collection of songs; I just wonder in what direction the usual combination of elements will take them.

The following article was published on Spin.com

Hearing the Go-Betweens is like telling yourself a secret. Only it's one that should be shared with the entire world. One of the best bands of the '80s, the group -- formed in 1978 by drama students and dreamers Robert Forster and Grant McLennan in Brisbane, Australia -- produced 6 albums and countless singles of literate, breathtakingly alive pop, before calling it a day in 1990. Formed as a response to the doldrums of their surroundings, their music -- the two shared songwriting credit, usually splitting 10 song albums between them -- always reflected the desperate, blood-pounding joy of expression: Of loving music, of needing music and of finally being able to live it.

The fact that they were ignored during their time together should come as no surprise -- few truly great bands are appreciated in their moment -- but few could have predicted that their passionate fanbase would swell so greatly during the '90s, a decade spent mostly on solo albums. Sensing something special happening, Forster and McLennan reunited in 1999 for an acoustic world tour to celebrate the release of a Greatest Hits album (Bellavista Terrace). And as fans younger than they thought possible sang their words back to them from the audience and bands that they admired sought them out after shows, the two realized that the time was right for a graceful return.

And so, this week, Jetset Records releases The Friends Of Rachel Worth -- the first original album by The Go-Betweens in twelve years. Recorded in Portland, Oregon with the help of new pals Sleater-Kinney, the album is a stunning achievement. Ten beautiful, heartfelt songs -- each capturing what was so magical about the GBs to begin with, each as loose, unpretentious and affecting as a ride down a sunshine highway with the top down.

In early August, Robert Forster and Grant McLennan stopped by Spin.com's Manhattan office, accompanied by Robert Vickers, their one-time bassist and now publicist at Jetset. The mood was light -- Robert devoured fruit while Grant sipped early afternoon lager. Both were remarkably good sports and expressed real gratitude over the response to the album. The duo performed three songs from Friends Of and then submitted to an appraisal of their entire career up to now -- I would play a song from their past to them, they would respond in kind. It was an honor and great deal of fun. With a fall American tour planned, and talk of another album after that, let's hope Forster and McLennan won't go as underappreciated in their second go-round as they were in their first. We hope you will enjoy, we know that you will ...

Andy Greenwald


Also found on jetset.sinner.com with the above article:
Grant McLennan and Robert Forster were in the NY office of Spin.com
in early August,
and this is what they said to the Spin writer about some of their songs:

Concert Reviews
by Dave Hirsh

We had an interesting month of concerts spread over mid-June to mid-July. First there was Bruce Springsteen at Madison Square Garden (1 show), then Robyn Hitchcock at the Bottom Line (2 shows), Lou Reed at the Beacon (1 show) and finally Alex Chilton at the Bottom Line (2 shows).

What can be said about Alex Chilton? If Clapton was god because he left the Yardbirds because their songs were becoming too commercial, then what is Alex Chilton? who walked out in the middle of a Box Tops tour thirty years ago because he did not like it that the band did not play on the records; they only sang (shades of the Monkees). What do you say about a man who goes on to being one of the most influential unknown artists, who has influenced everyone from REM to Hanson to the Goo Goo Dolls? A man who has a song written about him by the Replacements. A man who knows what the audience wants to hear and plays whatever he wants to anyone? A man who responded to people shouting out songs, with a smile, glare or stare, would reply not tonight or we might get to that one, or I didn't hear that but please feel free to request songs? Or when he was tuning his guitar, a man who would say in his quiet voice you don't have to be silent, I can do this?

I don't know what to say, other than this man really enjoyed performing. He had a true rock and roller charisma and I join those who say this man should be more than a contender. He tends to play songs from his latest solo CDs of obscure songs, by mostly obscure fellow artists that he Chiltonizes: A rock and roll cabaretfest - as Colette suggests, an alternative Frank Sinatra. On his last few CDs he has not written any songs. Of course, the sounds coming from Alex Chilton's guitar are second to none. You would have had to have been there (and you should have been) to really understand. In case you're wondering, he did not repeat any songs in the two sets and he did not play the Letter, but he did play two Big Star songs, and of course he played Volare (yes that Volare). Most of the songs played were from Set, A Man Called Destruction, and Cliches. He also played a few new songs he was working on, including a Michael Jackson rave up, but he did not moonwalk after a moment of half consideration.

His recent CDs (Set, A Man Called Destruction and the Box Tops "Tear Off") are a good place to start for new fans who want to see what Alex Chilton is all about, but they only give half the impact. Nonetheless to really understand where Alex Chilton has been, you should know that he was sixteen years old when he lead the Box Tops and sang the Letter. And slightly older when he was a member of Big Star, the quintessential critic's darling. There is no reason you should not have the combined CD of Big Star's first two albums - Number 1 Record/Radio City and Big Star's third album called Big Star 3rd (also called Sister Lovers).

Alex Chilton has as much fun as any artist I've ever seen up there, smiling or frowning, singing exactly what he wants even though he knows his audience would rather he be singing something else. You gotta admire a man like that - Or as Paul Westerberg wrote and sang for the Replacements back in the 80's about Alex Chilton, "I'm in love/What's that song/I'm in love/With that song"; or as Jonathan Richmond sang and wrote about the Velvet Underground, "How in the world were they getting that sound?/the Velvet Underground. After seeing Alex and Lou and after rehearing these song tributes, you just know viscerally what Paul and Jonathan mean."

Bruce was a blast, more of an event than anything with the echo resounding off the walls and roof and the audience dancing in the aisles. Of course, the controversy (as if Bruce needed the publicity and if the police really thought that the controversy would have any positive effect) over 51 Shots and Blue Wall of Silence created an anticipation, but like most of his songs, the lyrics couldn't be heard over the music in the nose bleed section. This controversy with the police proves that some people just have no sense of history and no sense. They forget, even if Bruce hasn't forgotten, his history of songs that he has written containing social commentary. Well as the Pete Seeger and Bob Dylan songs say, "Whose side are you on?" It seems that Bruce is still on ours. That is the side of those who question rather than knee-jerk react.

Aside from that controversy, Bruce and the E-Streeters were about what you would expect a loud, raucous rock and roll band with a tinge of social conscience and melody. He pretty much played the songs the audience expected with a basic set with a few changes from night to night or so I've been told.

The next night we took out our earplugs, rested our voices to see charismatic and larger- than-life Robyn Hitchcock playing solo. We had seen him in November when he fronted Kimberly Rew and Tim Keegan's Departure Lounge. But this show was different. Just Robyn his guitar, microphone and the house piano left on stage. People shouted out songs titles and Robyn played what he wanted. He played two sets with only one song repeated. He read from James Joyce's Ulysses while he played piano, seemingly a random passage (someone from the audience had handed him the book). He spoke between the songs, seemingly at random, with a sense of humor to put most stand up comedians to shame. He had a slight cold, but his tuneful voice made it through with little trouble. His guitar playing did not suffer at all. In case you're interested, he did not play Queen of Eyes or Have a Heart Betty I'm not Fireproof. In November he had played Queen of Eyes.

Lou Reed also played what he wanted, but I recognized most of the songs. He played with a drummer, a bass player (who played an avant-garde stand up electric bass (or perhaps viola) like instrument (paging John Cale), and a lead guitarist to Lou Reed's essentially rhythm guitar playing. But every now and then the two guitars and bass like thing would transport us into some other place. In case you're interested he did not play Take a walk on the Wild Side or I'll be Your Mirror or Pale Blue Eyes, though he did play Dirty Boulevard and Sweet Jane, along with several songs from Ecstacy.

What do these artists all have in common? They have all left an indelible stamp on rock music. Only Bruce Springsteen has truly broken through to Superstardom. Robyn, Lou and Alex all have their cult followers and other bands who have name checked them as an influence. There would be no underground or alternative music without them. This is what rock and roll is about.

CD REVIEW
"Smile" by The Jayhawks
Reviewed by David Hirsh