Lyrics You Tell Me Go-betweens, The
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The band's first official album, Send Me a Lullaby, produced by The Go-Betweens and Tony Cohen, on Missing Link in Australia, was released as an eight-track mini-album in November 1981. Missing Link's UK distributors, Rough Trade, released the album in the UK, three months later, with four tracks added. Morrison provided the album title, in preference to Two Wimps and a Witch, from a Zelda Fitzgerald novel Save Me the Waltz. The group had developed a subtler sound consisting of dry semi-spoken vocals, complex lyrics and melodic but fractious guitar pop influenced by contemporary bands such as Television, Wire and Talking Heads. Australian rock music historian, Ian McFarlane, described the album as \"tentative and clumsy [with] its brittle, rough-hewn sound\". Forster and McLennan wrote all the tracks, they alternated lead vocal duties, except \"People Know\" which had Morrison on vocals and James Freud (Models) guesting on saxophone. Enticed by Rough Trade, the band relocated to London. The band's next single, \"Hammer the Hammer\", was released by Rough Trade, in July 1982. In 2002, UK label Circus released a 2 CD version of Send Me a Lullaby which included \"After the Fireworks\" recorded as a collaboration with The Birthday Party's Nick Cave on vocals, Mick Harvey on piano and Rowland S. Howard on guitar. It had been released as a single under the band name, Tuff Monks in 1982 on Au Go Go Records.
In May 2001 \"Cattle and Cane\", written by McLennan and Forster, was selected by Australasian Performing Right Association (APRA) as one of the Top 30 Australian songs of all time. McLennan described writing the lyrics:
Metal and Shells [PVC, 1985]When what the Brits call pop isn't popular, it's usually rock and roll chamber music if it's any good at all. This U.S. debut, a best-of that highlights the soulful ache in the vocals and the quirky opacities in the lyrics and does what it can for a modest tune sense, honors that suspect notion. It's not stylized, and not static either, but it's pretty subtle, and its half-finished edges and kinetic lyricism are best appreciated in tranquility if not repose. Where it can be expected to unfold for quite a while. A-
Liberty Belle and the Black Diamond Express [Big Time, 1986]The lyrics, which set oblique but never opaque romantic vicissitudes against a diffidently implied existential world-historic, aren't the secret of their lyricism, and why should they be These Aussies make music, with Robert Forster's intensely sincere vocals and Grant McLennan's assertive but never pushy hooks pinning down the melodies. Granting all reservations about the form itself and with apologies to skillful romantics from R.E.M. to XTC, there are no popsters writing stronger personal love songs. I doubt there are any page poets envisioning more plangently, either. A-
Tallulah [Big Time, 1987]They stick to what they know, and their knowledge increases. The quartet's a quintet now, up one violin, which may not seem like much but does serve to reinforce the hooks that have never been a strength of their understated, ever more explicit tales from the bourgeois fringe. So though I was pulled in by \"The Clarke Sisters\"--\"They sleep in the back of a feminist bookstore\"--I soon got involved with every song on the album, with a special rush for \"Right Here,\" where Robert Forster or Grant McLennan, I still have trouble telling them apart, stands by his woman. A
Spring Hill Fair [Beggars Banquet, 1996]In the Indian summer of a formal moment, singer-songwriter-guitarists Robert Forster and Grant McLennan joined a shifting lineup headed by steadfast drummer-inamorata Lindy Morrison and mercurial violinist-inamorata Amanda Brown to fashion as deep and intricate and prematurely mature a body of traditional relationship songs as, oh, Joni Mitchell herself, who should only have accessed half their empathy and synergy. Hiding their hooks in arrangements and lyrics as often as they brandished them in tunes, they were modest, affectionate, funny, cheerful, never too oblique or ironic--pop for the ages if anything is. But with the 1978-1990 compilation now import-only, novice songseekers are confronted instead by a remastered, reannotated six-album oeuvre. So acquire them all, I guess, thusly: Tallulah (1987, Amanda and \"Right Here\"), Spring Hill Fair (1984, produced yet rough), Before Hollywood (1983, austere yet gorgeous), 16 Lovers Lane (1988, poppest), Liberty Belle and the Black Diamond Express (1986, talkiest), Send Me a Lullaby (1981, punkest). Accounted too damn subtle for a U.S. market whose favorite Aussies were MTV flukes and whose favorite Brits had surrealistic haircuts, these Brisbane-bred Londoners' first three albums were never accorded the decency of official U.S. release. This is my paltry attempt to extend a nation's apology. A
The past, that's historyThe future, that's a mysteryThe present, that's a giftThat's why they call it the presentI can't watch the news, lately its been too depressingI rather be with you, bodies pressing and decompressing So much smoke in the air look like we need decongestantI know you need protectionI tell you what to do whenever you need directionYou know I'm overworking I cut the check like directingTake me daily as directed
Still love the way he talk, still love the way I singStill love the way he rock them black diamonds in that chainStill all up on each other, ain't a damn thing changeMy girls can't tell me nothing, I'm gone in the brain
I know you say that I am assuming thingsSomething's going down that's the way it seemsShouldn't be the reason why you're acting strangeIf nobody's holding you back from meCause I know how you usually doWhen you say everything to me times twoWhy can't you just tell the truthIf somebody's there then tell me who
All things are relative with cousins everywhereHard-nosed blue-eyed boys, intelligent and fairYou gotta pitch in for your kith and kinHolding the line to save our skinPound for pound we'll take the shillingIt takes a man to make a killingAction men must sterling beFight for freedom but not for free
The song was originally composed by Parton as a farewell gift to her former mentor and business partner. She wanted to tell him that, even if they were parting ways, she would always remember him in the best light possible.
The head guardian at Hailsham. Miss Emily is older than the other guardians, and the students generally find her intimidating. However, they respect her decisions and her presence at Hailsham makes them feel safe. Miss Emily has a stern demeanor and a sharp intellect, although she lapses at times into a dream-like daze. When Tommy and Kathy encounter her again as adults, Miss Emily is self-satisfied and complacent about her failed charitable work on behalf of the students.
Since not adhering to the traditional distinction has been a tendency for a while already, there is a counter-tendency of people who want to sound more educated or intelligent. They consider the form you and I to be the only correct one and use it more and more often. This resulted in an inflationary usage of the phrase (called hypercorrection) and in the reduced usage of its counterpart:
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