"In the dark when the shadows have their way, a finger's a chimney and the moon's on fire."
Arguably one of the greatest bands of the Post-Punk era, The Go-Betweens hit full creative stride on their second LP,
Before Hollywood, an uncompromising, beautiful and consistently inventive slice of darkly-lit anti-pop. Headed by two gifted songwriters, Robert Forster and Grant McLennan, each of whom pulled the band in different thematic directions, one of the most striking things about
Be
fore Hollywood is the way it all coheres so seamlessly together, achieving, in the process, a sustained and unconventionally melodic attack on pop music paradigms. While "Cattle and Cane," is certainly deserving of all the attention it gets as one of the best songs of the decade, it makes it easy to overlook just how consistently brilliant the entirety of
Before Hollywood actually
is. For example, the title track, with its spiky, spidery guitar figure and Forster's "Tom Verlaine but the words make sense" vocal delivery is a reminder of how melancholy this band could be. Conversely, on "That Way," the band unleashes some first-rate Jangle-Pop (complete with a swirling psychedelic organ in the background) that rates with anything The Church were doing at the time.
Before Hollywood, as the title ironically suggests, is the sound of a hungry, impossibly talented band about to scale some great artistic heights.