Send Me a Lullaby [Expanded]

Editorial Reviews

All Music Guide - Ned Raggett
The first official album from the Go-Betweens, after a slew of earlier recordings and initial singles, was described by Forster and McLennan in later years as sounding like a practice room session, "metallic folk in a way." It's a fair assessment, and certainly while it's the work of a young band, Send Me a Lullaby is still a promising start, showing that the original trio had an aesthetic and the talent to carry its work over an album's length. Another McLennan comment, that it's the 1981 version of the Pixies, is partially accurate -- there are no walls of feedback or screaming, but the songs are short, brisk, angular. The not-so-secret weapon, as one can imagine, is the ...
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Editorial Reviews

All Music Guide - Ned Raggett
The first official album from the Go-Betweens, after a slew of earlier recordings and initial singles, was described by Forster and McLennan in later years as sounding like a practice room session, "metallic folk in a way." It's a fair assessment, and certainly while it's the work of a young band, Send Me a Lullaby is still a promising start, showing that the original trio had an aesthetic and the talent to carry its work over an album's length. Another McLennan comment, that it's the 1981 version of the Pixies, is partially accurate -- there are no walls of feedback or screaming, but the songs are short, brisk, angular. The not-so-secret weapon, as one can imagine, is the singing of Forster and McLennan, investing even the sharpest songs and most cutting rhythms check out the relentless rhythms of the art-funk "The Girls Have Moved" with a sometimes desperate and sometimes withdrawn emotion. At points the vocals are forced, as can also be heard on Very Quick on the Eye, but both are starting to audibly try out other approaches. As musicians, the three definitely had something of that "metallic folk" thing about them, with Morrison's drumming adding a sometimes brusque but except for part of "Eight Pictures" never brutal touch to the proceedings that holds up quite well. Forster's guitar work and McLennan's bass are both interesting to hear in context given how much of an influence they would exert in later years. Rather than sounding like they're trying to recodify rock & roll or the like, it's a series of often gentle explorations in restraint, saying more with less. There are definitely more thrashy numbers that live might well have completely rocked out -- "People Know," with its squirrelly guest saxophone from James Freud, is the most likely candidate of all. [The 2002 reissue includes a bonus disc with many previously unreleased tracks as well as "After the Fireworks" a duet with Nick Cave and the video for "Your Turn, My Turn."]
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Product Details

  • Release Date: 12/17/2002
  • Label: 3d Japan
  • EAN: 4560122160045
  • Catalog Number: 3/4

Tracks

Disc 1
  1. 1 Your Turn, My Turn (3:03)
  2. 2 One Thing Can Hold Us (3:17)
  3. 3 People Know (2:11)
  4. 4 The Girls Have Moved (2:36)
  5. 5 Midnight to Neon (2:31)
  6. 6 Eight Pictures (4:52)
  7. 7 Careless (2:34)
  8. 8 All About Strength (2:12)
  9. 9 Ride (3:30)
  10. 10 Hold Your Horses (2:14)
  11. 11 Arrow in a Bow (2:00)
  12. 12 It Could Be Anyone (4:30)
Disc 2
  1. 1 Sunday Night (2:50)
  2. 2 One Word (2:02)
  3. 3 I Need Two Heads (2:34)
  4. 4 The Clowns Are in Town (2:14)
  5. 5 Serenade Sound (2:23)
  6. 6 Hope (2:04)
  7. 7 Stop Before You Say It (2:58)
  8. 8 World Weary (1:42)
  9. 9 Distant Hands (2:01)
  10. 10 Undo What You Did (4:05)
  11. 11 Cracked Wheat (3:54)
  12. 12 After the Fireworks (6:59)
  13. 13 Your Turn, My Turn (4:29)
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Album Credits

Performance Credits
The Go-Betweens Primary Artist
Nick Cave Vocals
Robert Forster Guitar, Rhythm Guitar, Vocals
James Freud Saxophone
Mick Harvey Piano
Grant McLennan Bass, Guitar, Vocals
Lindy Morrison Drums, Vocals
Steven Daly Drums
Rowland S. Howard Guitar
Technical Credits
The Go-Betweens Producer
Alex Fergusson Producer
Tony Cohen Producer, Engineer
John Dent Noise Reduction
Steve Webbon Source Material
Colin Bloxsom Engineer
Jennifer Watson Cover Art
Bernard MacMahon Liner Notes
Paul Agar Liner Notes
Jason Mitchell Noise Reduction
Callum Malcolm Engineer
Bob Johnson Source Material
Hidetsugu Ito Liner Notes
Ben Clancy Source Material
Guy Ewald Source Material
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