Pure Pop for Now People

Amongst all my recent upheaval, one of the constant sources of joy has been listening to the Go-Betweens' album 16 Lovers Lane, the last recorded in their initial incarnation before their comeback at the start of the 21st century.

To set the story: by 1988, the band had been going for ten years or so, based around the songwriting talents of vocalist/guitarists Robert Forster and Grant McLennan (initially the bassist), who met while studying in Brisbane, Australia. In time for their first album, 1981's Send Me a Lullaby, they were joined by drummer Lindy Morrison. Next album Before Hollywood set them up as critics' darlings thanks to sublime songs like McLennan's autobiographical Cattle and Cane.

Bassist Robert Vickers was signed up in time for 1984's Spring Hill Fair, which contained the band's first "how the fuck was that not a hit?" moment with Bachelor Kisses. Liberty Belle and the Black Diamond Express continued this theme and 1987's Tallulah did no better despite wonderful pop songs such as Right Here and Bye Bye Pride. The band were also joined by talented multi-instrumentalist Amanda Brown on this album, McLennan subsequently starting a relationship with her that would dominate his own writing for the next few years.

By 1988, the band, in Foster's words, had to have a hit. The band relocated from London to their native Australia, with Vickers electing to leave to live in New York. He was replaced by John Willsteed, whose penchant for a more rock and roll lifestyle would later cause issues. But with the pressure on, the band managed to create their most consistently brilliant album.

Staring with Love Goes On!, the tone is set early on for a lyrical direction based around, well, love. McLennan is generally excited about his new love (Quiet Heart has an intensity about it that someone like Bono could only dream of achieving) while Foster seems to take the opposite stance: the closing Dive For Your Memory mourns over loss - perhaps towards his one time lover and bandmate, Lindy Morrison: the lines "When I hear you saying we stood no chance/I dive for your memory/We stood that chance" have a wonderful sad poignancy.

Streets of Your Town, the lead single, is naturally the centrepiece. Again, you're left wondering how it wasn't a massive hit: catchy as hell chorus, great vocals, ringing guitars that sound like summer with a dark undertone from lyrics talking of a place "full of battered wives". It's follow-up (and fellow non-hit) Was There Anything I Could Do? was cut from the same cloth.

Yet it's the less obvious songs that are the soul of 16 Lovers Lane. Forster's Clouds and I'm All Right are beautiful - his voice, which I always thought an acquired taste that at times held back their more 'pop' songs - works at it's absolute best. The latter song in particular is one I've listened to three or four times in a row.

If there's a criticism to be had of the album, it's not because of the band - who all play superbly - or the songwriting - which is peerless - but in the "80's" style production that at times comes dangerously close to drowning the songs. See also the Wild Swan's excellent Bringing Home The Ashes album from the same time. Several songs feature drum machines which just sound bloody dreadful and you'd love to have heard Morrison put down some more natural sounds instead.

Despite the songs and the usual critical raves, 16 Lovers Lane didn't push the band into the big leagues. Internal tensions and basic frustration caused the band to break up a year or so later. McLennan and Foster produced a series of solo albums before reconvening (with a new rhythm section) for three well-received Go-Betweens albums. Sadly, Grant McLennan died of a heart attack in 2006. 16 Lovers Lane stands a testament to his brilliant songwriting talent.