I mean.... apparently there weren't any issues unloading these first two volumes, they weren't marked down or kicked out - like so many boxsets. Looks like Domino perfectly estimated the demand for sets like these so.... what's another box? Even though it would be a shame to keep the vinyl reissues exclusive to Volume Three. Because these are the GB albums that are really tricky to find on vinyl.
I know that Lindy had a real problem with Robert and Grant reforming The Go-Betweens without her, but I thoroughly enjoyed the reunion albums. Ocean's Apart was repressed [free record company exchange] with a minor dB drop in output level, but the mastering was still bad, there was serious digital distortion on some tracks. I futzed with it... dropping the output level by -6.0dB, but it was only a minor improvement. Still, that final album was their best-selling release, IIRC, so going for that compressed modern sound [Robert's request] was probably a good idea, in his estimation. My box is supposed to be delivered tomorrow. Fingers crossed.
I'm normally not touchy when it comes to dubious mastering choices, I can enjoy Suedes reunion or later Baroness albums but "Oceans Apart" is one case where I really think songs like "Statue" are suffering from that bleached out - no better way of putting it - sound. Oh.... for the record: Mine is a German vinyl pressing. The (only) ironic thing: They got rid of the "double ll" but they wouldn't let go of unfortunate production/ mastering choices that have plagued their records for ages. Not all of them. But stuff like "Tallulah" definitely.
Been fairly immersed in the box’s contents over the weekend – here are my thoughts. Listening on: Cowon Plenue D2 Lossless player with ikko obsidian OH10 in-ear headphones. From: 16 bit downloads (couldn’t get the 24 bits to work – hopefully this will be sorted in time). Main Albums: All three are sonically excellent – listening to Liberty Belle again last night and there is a real detail to the sound e.g. ‘To Reach Me’ sounds amazing. Tallulah is probably my favourite remastering of the three. I never really liked the 2004 remastering job. I always thought the extra detail on that made the sound a bit more cluttered somehow. The new remaster somehow balances the detail with the dynamism/propulasion the songs always needed. It sounds more like a rock/pop album than a pop/rock album now – in a good way. Songs like ‘You Tell Me’ and even ‘Cut it out’ to me sound significantly better for it. Actually they all do. 16 LL. Haven’t listened to this in real detail yet. First impressions are that it is more muscular in sound on this remaster (i.e. more prominent drums and bass – more separation in the mix). I liked the 2004 remaster which was very smooth. This remaster contrasts – detail is obviously very good. It’s nice to have a choice of two sounds now for this album. Extras: The Liberty Belle Stuff is all quite interesting with some good demo versions near the beginning. The sound quality is strong all the way through. Great demo version of Spring Rain. The studio b sides all sound sharp and well-remastered. ‘I work in a health spa’ has been cleaned up quite a bit (it almost sounded unlistenable on the 2004 remaster disc), so that’s great. The only disc I’m a little bit disappointed with is the Tallulah bonus disc. The first six demos (four tracks essentially unknown) are very primitive. Drum machine with muffled guitars. Just curios really. The Alvic demos which were mentioned in the run up to the box set (masters found and presented by Beggars) are an expansion of the 3 tracks from the 2004 remasters. Unfortunately, the masters must have deteriorated for these versions sound poor sonically which, for me, renders them virtually unlistenable. The extras are rounded off by satisfying remasters of all the relevant b sides. To me, it seems ‘When People are dead’ and ‘Don’t Call me Gone’ have been remixed a bit (to good effect). I wasn’t expecting much ffom the 16 LL extras as virtually all the tracks have been released before. However, the demos (first half) have been expanded and sound considerably better than the ‘Acoustic Demos’ cd – I enjoy listening to these versions much more. The b-sides sound lovely – ‘Rock’n’ roll friend’ has never sounded better. Likewise, the ‘Botany Session’ – here renamed ‘Loving Shocks’. The sound is much better than the bootleg copy I’m used to. Some really excellent versions of songs from the first solo albums, and a few unknowns as well. The biggest surprise I have though is with the Live Album. As a rule, I do not like live albums – I never have done (unless they cheated afterwards and added in lots of overdubs e.g. Talking Heads – The Name of this band). This is, however, amazing. It starts off quite strong, then just gets better and better. ‘Spring Rain’ is fantastic, as is Apology Accepted, Head Full of Steam and so on. The band sounds dynamic, fresh, vital – ‘almost’ studio in their clarity and execution. Sorry - this is quite a long post. Anyway, I give it a 9 ½ overall (docked half for the silly Tallulah Alvic demos). If you’re not sure, I hope this convinces you.
I got a code for Volume One (second pressing), but the label only provided a 16-track sampler, the same sampler they provided radio stations. I contacted them, but received a message basically stating they could only provide downloads to what they licensed.
Got my set over the weekend when I was out of town. Anybody else get a book? I got one from Jay McInerny. It's not signed. But last time they sent me four (!) of his books that were all signed so I have no reason to complain. I'm happy to add it to my little Grant library.
Whoa I'll take that! What are the chances it arrives in good condition? What are the chances it arrives in an actual package? We'll see...
Just out of curiosity, where did you hear or read Robert saying anything about the loud mastering for OA? Like most fans, I've always found OA's mastering to be terrible, but I don't recall ever hearing anyone from the band directly commenting on it. So, the reasoning behind the inappropriately LOUD sound has always remained a bit of a mystery. When reading Robert's outstanding autobiography, I was irked by how there was zero mention of OA's mastering, even though it's arguably one of the most controversial incidents in the band's entire career. I remember lots of fans on the Go-Betweens message board were up in arms about it at the time, and some people were even writing the record label asking if someone had screwed up.
I was active on the Go-Betweens board back then and sent a message to producer Mark Wallis. I actually got a short response saying, "I think you will find that the problem is in the mastering, not the production or the mix." I don't remember where I read about Forster's statement of intent to make the album loud and "modern sounding" but it was back when the album was new. The Go-Betweens were not a tech-savvy group. Their Live In London album had 2-second gaps between all tracks, an absolute momentum killer on a live recording. Back during the CDR-trading days, anybody who couldn't figure out how to set their disc-burning program for "no gaps" was considered a hopeless dweeb. And here the band and their team formally issued a 2-CD set where ALL COPIES had those infernal 2-sec silences between every track, breaking-up the continuity and flow. It was unbelievable to me at the time and it still boggles my mind. I don't know what kind of rarities they could gather to flesh-out a Volume 3. There are a few non-LP B-Sides. I'm sure there are demo recordings. There are some very good live acoustic recordings from Forster & McLennan's 1999 duo tour, and I'm sure they have some four-piece band recordings from their final year.
This box is my personal sweet spot, the culmination and end point of what I revere as the Go-Betweens. I don’t begrudge Grant and Robert rebooting the name but the discontinuities are severe, and complicated by the back-and-forth effects of solo work interspersed between and within “Go-Betweens” music. All of which means that for me there’s a lot more of an uncertain focus to grapple with up ahead and a ghostly question mark hovering at the end of a Vol. 3 of G is for Go-Betweens concept and title.
Anyone else hearing non-fill towards in the last 10 seconds of 'Love Goes On!' on 16LL? Just cleaned it and it's still there.
I guess you're definitely not in a minority here. "Cattle & Cane" aside these three albums contain probably what 90% think about when they think "The Go-Betweens", it's their pinnacle and downright classic stuff. That said I also love the first and - to a lesser extent - last three albums. But a third box is imperative for the vinyl versions alone. Because these albums are not exactly cheap to obtain on 12" discs. And why not? Technically it is still The Go-Betweens. That the split and reunion were handled less than ideal and caused a lot of - probably unnecessary - pain goes without saying. I mean... it cost Grant his relationship with Amanda which devastated him. But it's still part of the story. And since they managed to sell the first two installments supremely well, this final volume should even sell quicker. Because of the price for original copies. For now I'm hoping the Amazon deal works and I will get Volume Two.
I was under the impression the plan was always to do three volumes. I was a little unsure we’d get Vol 2 just because of how long we went without any news of it, but a bit more relaxed about Vol 3 - just might take some time. Will be worth the wait if we get a sympathetically mastered ‘Oceans Apart’! Will also be interesting to see, as alluded to upthread, if there’s enough extra material to fill multiple CDs. Would expect the fourth LP to be more live stuff. Edit: Seems impatient to speculate about Vol 3 when I’m only part-way through Vol 2!
Really hope so. The CD sounds awful. If it does come out, hopefully will be December 2020 rather than waiting a few years.
Been listening to the demos on the CDs, so much wonderful stuff! I really like the Tallulah demos, and went from there to the finished LP - what an amazing classic. Great songs, rich textures. This box will keep me busy for a long time...
Given the cost of the first box on the second-hand market, that seems unlikely. OTOH, limiting supply artificially inflates demand.
I was active on the Go-Betweens board back then as well. I remember well how upset everyone was over OA's mastering, and there was some debate over whether it was deliberate or a screw up. I would just love to hear from Robert on specifically why they chose to make it so egregiously loud. I mean, it's one thing to make it more "modern" sounding, but quite another to do what they actually did and wind up alienating and/or confusing a sizable portion of their fanbase! I'm sure they could cobble together just enough bonus material for a Vol. 3 if they include demos and live material. I wouldn't be interested in Vol. 3, personally, but it would be a great gift to fans if they were to include a sanely/tastefully remastered OA.
Isn't there a recent interview (in the last few days) with Robert where he's asked about Vol 3, and he says they have some surprises for it? (Or I am mis-remembering this? I can't find it right now...)
It's the other way round. The fact that the first box has risen in price proves that Domino did it right and didn't produce too many units. The usual boxset mistake. Because at the moment, if you visit record fairs you're bound to see stacks of "limited edition" boxsets being kicked out for very little money. Not these sets!
On second thought, I don't think this is correct. Limiting supply doesn't inflate demand. This is why so many multiple copies of "rare" records are sometimes offered at Discogs. Starting at grotesquely inflated prices. Limiting supply inflates the asking price. That's all it does.
