Tallulah, 16 Lovers Lane and a Standout Live Album
It felt like time to sprinkle a little eighties pop rock into Now Spinning Magazine, and these four Go-Betweens reissues from Beggars Banquet have given me an excellent opportunity.
Over the past couple of weeks, I have been living with Liberty Belle and the Black Diamond Express, Tallulah, 16 Lovers Lane and the double live album Fountains of Youth. What has struck me most is the space in the music. The guitars jangle, the instruments have room to breathe, and the lyrics often carry far more tension than the arrangements initially suggest.
All four vinyl pressings have impressed me. But although 16 Lovers Lane is often recommended as the starting point, my favourite studio album here is Tallulah. And the record I keep returning to most of all is Fountains of Youth.
Who were The Go-Betweens?
The Go-Betweens emerged from Brisbane in the late seventies, built around the friendship and songwriting of Robert Forster and Grant McLennan. They developed an international following during their years in London, making records whose critical reputation outstripped their mainstream commercial success.
The two writers brought different qualities to the band. Forster’s songs could be angular, theatrical and sharply observant, while McLennan had a gift for inviting melodies and emotionally direct writing. Together, they created guitar pop with a distinctive mixture of romance, unease and detail.
The musicians around them mattered enormously. Lindy Morrison’s drumming and Robert Vickers’ bass helped shape their eighties sound. Amanda Brown joined in 1986, bringing violin, oboe and vocals, while John Willsteed joined on bass for 16 Lovers Lane.
Their roots included mid-sixties Bob Dylan and the New York punk scene. If you enjoy R.E.M., Television or The Velvet Underground, there are musical connections here that may appeal. There is also a pop sensibility that might attract listeners who love The Monkees.
What interests me is how they channel that restless energy. Rather than piling on layers of loud guitars, they often allow the instruments to remain spacious and melodic. The tension stays in the song.
Liberty Belle and the Black Diamond Express — 1986
The first record in this group was actually the band’s fourth studio album. Liberty Belle and the Black Diamond Expresscatches them developing a fuller, more assured sound while retaining their individuality.
The band approached it determined to make the record on their own terms. That helps explain its natural feel: there is a sense of musicians leaving room for one another rather than filling every available gap.
“Spring Rain” and “Head Full of Steam” offer accessible ways into the album, while songs such as “The Wrong Road” and “Apology Accepted” show the emotional range beneath the guitar pop. Its lasting reputation rests partly on that balance between strong melodies and more complicated feelings.
The lyrics are printed on the back of the sleeve on this edition, and the record comes in a plain paper inner. The pressing itself is very good, although I would recommend transferring it into a poly-lined sleeve.
One slightly unexpected listening impression: a couple of moments reminded me of the quieter side of The Doors, particularly Strange Days. That is simply something I heard, rather than a documented influence. Other listeners may hear something entirely different.
It is a good introduction, although my personal starting point would be the next studio album.
ORDER LIBERTY BELLE AND THE BLACK DIAMOND EXPRESS
Tallulah — 1987
Tallulah is my favourite studio album of these three.
It was their fifth album and the first to feature Amanda Brown. Her arrival broadens the instrumental palette, and I feel that the violin and extra textures really open up the music.
There is considerable variety across the record. McLennan’s “Right Here” and “Bye Bye Pride” sit alongside Forster’s “The House That Jack Kerouac Built” and “The Clarke Sisters”, giving the album both melodic immediacy and distinctive character studies.
Historically, it occupies an important position between the band’s earlier sound and the more accessible approach of 16 Lovers Lane. For me, however, it also stands beautifully on its own.
I particularly love the recording of the drums and bass. You can place it in the eighties, but it does not feel trapped there. The spaciousness, changing dynamics and different approaches within the songs keep it interesting.
Of the studio albums in this batch, this is the one I have played most. Go-Betweens fans will have their own favourites, of course, but after spending time with all three, Tallulah is the one that has connected with me most strongly.
Fountains of Youth — Live at the Town and Country Club
The double live album is my overall highlight.
Recorded at London’s Town and Country Club in May 1987, just before the release of Tallulah, Fountains of Youthcaptures the band in full flow.
This is a professionally recorded performance, captured on 24-track analogue tape. Robert Forster has explained that the recording opportunity encouraged the band to take a more adventurous approach to the set, giving this show a particular character.
Across the album, songs including “Bye Bye Pride”, “Right Here”, “Head Full of Steam”, “Spring Rain” and “Karen” connect different stages of their catalogue. It gives listeners a chance to hear the developing band alongside material from its earliest days.
The recording is tremendous. Those edgy, observational lyrics are still there, but the instruments frequently respond by turning up the jangliness. That relationship between the words and music is a large part of their charm.
I hear touches of R.E.M. here, and listeners who enjoy The La’s may also find something to connect with in the guitar sound. Those are reference points rather than exact comparisons, particularly when it comes to the singing and lyrics.
The presentation includes an essay from the band. I would have liked more live photographs to help bring the concert to life visually, but the performance itself makes a very strong impression. The records have black paper inners, so again I would add poly-lined sleeves.
For existing fans, this could be the most enticing release of the four. For me, it has become the go-to record.
ORDER FOUNTAINS OF YOUTH ON VINYL
16 Lovers Lane — 1988
16 Lovers Lane, their sixth studio album, is the record that receives the most attention, and it is easy to understand why people recommend starting here.
Recorded after the band’s return to Australia, it brings a more accessible, pop-oriented approach to their songwriting. Its standing has endured: it appears in 1001 Albums You Must Hear Before You Die and remains central to the band’s reputation.
“Streets of Your Town”, “Love Goes On!”, “The Devil’s Eye”, “You Can’t Say No Forever” and “Dive for Your Memory” give it a particularly strong collection of songs.
There is warmth and melodic appeal here that can draw a new listener in very quickly. If you want the most immediately welcoming introduction from these studio albums, this is a sensible choice.
My own preference remains Tallulah, but that is the pleasure of spending time with a run of albums like this. The most celebrated record and the one that speaks to you most personally do not always turn out to be the same.
The vinyl editions and my verdict
These 2026 Beggars Banquet editions use the remasters prepared in 2019 for the second volume of the G Stands for Go-Betweens anthology. They are new vinyl editions using those existing remasters. The release programme also includes CD editions of all four titles.
The pressings I have listened to are very good throughout. My recurring suggestion is to replace the paper inners with poly-lined sleeves. Regular Now Spinning Magazine readers will know how strongly I feel about giving records suitable protection.
For newcomers, 16 Lovers Lane offers immediate melodic appeal. Liberty Belle and the Black Diamond Express provides another strong introduction. My personal studio choice is Tallulah, while Fountains of Youth is the album I have reached for most often.
If you enjoy guitar music with space, character and thoughtful lyrics, these reissues are well worth investigating.
Which Go-Betweens album would you recommend to someone hearing them for the first time? I would love to hear your choices.
Phil Aston | Now Spinning Magazine
