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The 10 Rules of Rock and Roll: Collected Music Writings / 2005-09
“Sometimes I play a game in my name the five best American rock bands of the ’60s. My list The Velvet Underground, The Byrds, The Beach Boys, The Doors, and then I stall on the fifth. Creedence? The Band – although they’re mostly Canadian. Simon and Garfunkel? Jefferson Airplane? The Lovin’ Spoonful? But I plump for The Monkees.”—Robert Forster Robert Forster was a Go-Between, and now has an acclaimed solo career, but in recent times he has also established himself as one of the finest music critics in the business. In The 10 Rules of Rock and Roll , Robert Forster takes readers on a roller-coaster ride through popular music – from Bob Dylan, AC/DC and Nana Mouskouri through to Cat Power, Franz Ferdinand, Nick Cave and the Bad Seeds and … Delta Goodrem. Accompanying Forster’s acclaimed writing for The Monthly are a short story about Normie Rowe and stunning new pieces in which he sets out the 10 Rules of Rock and Roll, ponders on ‘The 10 Bands I Wish I’d Been In’, reflects on the influence of The Velvet Underground, and gives a moving tribute his partner in The Go-Betweens, Grant McLennan. Funny and illuminating, The 10 Rules of Rock and Roll shows a great critic at work.
254 pages, Paperback
First published November 2, 2009
8 people are currently reading
131 people want to read
About the author
Robert Forster
8 books10 followersRobert Forster is an Australian singer-songwriter, guitarist, and critic best known as the co-founder of the influential indie rock band The Go-Betweens, formed in 1977. Recognized for his clever songwriting, he pursued a successful solo career after the band's initial split in 1989. Following the 2006 death of partner Grant McLennan, Forster continued releasing acclaimed solo albums and published the memoir Grant & I in 2016. He remains active in the music industry, releasing The Candle and the Flame in 2023.
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Displaying 1 - 18 of 18 reviews
November 20, 2022
CRITIQUE:
The 10 Lures of Rock Criticism
Robert Forster has a good ear for other people's music.
He has good taste, and is knowledgeable about both indie music and 60's pop music (the music of his [and my] adolescence).
The problem comes when he tries to write about it.
Forster was a calculating and careerist rock strategist who always tried to position the Go-Betweens as a critics' band (as if critics would lead them to their desired audience and commercial success). It was almost like he spoon-fed critics the substance of what he wanted them to say about their music.
Forster peppered interviews with the right influences and opinions on their peers and rivals (e.g., REM, Johnny Marr, Morrissey and the Smiths, whose popular and commercial success tormented him).
It was vital that the chosen critics "believed" in his band and his music, that they submitted to its collective ambition, and that they wrote what was ordained for them.
"It's Not Easy Loving You, Baby"
Forster writes, rather disingenuously, that, up until 2005, he never envisaged that he would publish a book of music criticism (even if one of their original side projects was to have been a fanzine).
He claims to have been lured into the venture around this time by the editor of a new magazine ("The Monthly", which is surprisingly not yet defunct, though almost all of the editors and freelancers have come and gone), who invited him to write a monthly article on music.
Forster translated this into an invitation to be its "rock critic". He was both intrigued and flattered, and eventually accepted the offer. The result reads like a list of influences and prospective label-mates.
The deal was that Forster would write 1,500 words on any (new) record he chose (including Delta Goodrem of all people), and send it to his editor, who would edit it into shape, if required.
Morrissey (authenticity and talent versus Forster's affectation and artifice) looks better in white tie Source
"Ringleader of the Tormentors"
It's not clear how much editing Forster's articles required (he admits that his third [who was not not his last] editor's "editing skills are evident in most of the ...articles in this volume"), but despite his taste and knowledge, something is lacking in the perspective and tone of the articles.
Some articles sound like liner notes that, according to Forster, "plot the course of the history" of an artist or band. These, I assume, are informed by other critics' liner notes, interviews, magazine articles, books, press releases and web searches.
Others are preoccupied with details of producers, recording studios, and the number of tracks an album should have (and in what sequence), and how these choices might have influenced the recorded output and its prospects of commercial success.
Forster often sounds like someone who reads every issue of "Variety" and thinks he understands the film industry. He seems to be auditioning for the role of producer of each band's next album, so that he can remedy the flaws he's detected in his predecessor's work.
Lying Tongue
There's an ulterior motive behind every word Forster writes.
Where not so critical, his opinions sound like external reports written for A&R departments who can't get their heads around this new-fangled indie music stuff that confronts them.
Even then, the main descriptors of music that he uses are "beautiful", "glorious", "gorgeous", "grand", "lovely", "magnificent" and "wonderful".
His limited vocabulary seems to vindicate the opinion of record companies that music magazines and critics are outsourced publicity and marketing departments, whose opinions can be bought with free CD's.
A Certain Delusion of Grandeur
Like much of the music of the Go-Betweens, this book is not by any means an essential work of art or criticism, but an indulgence. It doesn't have to be yours.
TWEENY LYRICISM
Headstrong
[Thanks to
the Author]
I've got some kind of feeling,
Think it's a matter of fact.
I never liked your writing,
So what could be wrong with that?
I suspect I don't belong
As part of your old boys' team.
Is it that I'm just headstrong
Or vent my head full of steam?
SOUNDTRACK:
The 10 Lures of Rock Criticism
Robert Forster has a good ear for other people's music.
He has good taste, and is knowledgeable about both indie music and 60's pop music (the music of his [and my] adolescence).
The problem comes when he tries to write about it.
Forster was a calculating and careerist rock strategist who always tried to position the Go-Betweens as a critics' band (as if critics would lead them to their desired audience and commercial success). It was almost like he spoon-fed critics the substance of what he wanted them to say about their music.
Forster peppered interviews with the right influences and opinions on their peers and rivals (e.g., REM, Johnny Marr, Morrissey and the Smiths, whose popular and commercial success tormented him).
It was vital that the chosen critics "believed" in his band and his music, that they submitted to its collective ambition, and that they wrote what was ordained for them.
"It's Not Easy Loving You, Baby"
Forster writes, rather disingenuously, that, up until 2005, he never envisaged that he would publish a book of music criticism (even if one of their original side projects was to have been a fanzine).
He claims to have been lured into the venture around this time by the editor of a new magazine ("The Monthly", which is surprisingly not yet defunct, though almost all of the editors and freelancers have come and gone), who invited him to write a monthly article on music.
Forster translated this into an invitation to be its "rock critic". He was both intrigued and flattered, and eventually accepted the offer. The result reads like a list of influences and prospective label-mates.
The deal was that Forster would write 1,500 words on any (new) record he chose (including Delta Goodrem of all people), and send it to his editor, who would edit it into shape, if required.
Morrissey (authenticity and talent versus Forster's affectation and artifice) looks better in white tie Source
"Ringleader of the Tormentors"
It's not clear how much editing Forster's articles required (he admits that his third [who was not not his last] editor's "editing skills are evident in most of the ...articles in this volume"), but despite his taste and knowledge, something is lacking in the perspective and tone of the articles.
Some articles sound like liner notes that, according to Forster, "plot the course of the history" of an artist or band. These, I assume, are informed by other critics' liner notes, interviews, magazine articles, books, press releases and web searches.
Others are preoccupied with details of producers, recording studios, and the number of tracks an album should have (and in what sequence), and how these choices might have influenced the recorded output and its prospects of commercial success.
Forster often sounds like someone who reads every issue of "Variety" and thinks he understands the film industry. He seems to be auditioning for the role of producer of each band's next album, so that he can remedy the flaws he's detected in his predecessor's work.
Lying Tongue
There's an ulterior motive behind every word Forster writes.
Where not so critical, his opinions sound like external reports written for A&R departments who can't get their heads around this new-fangled indie music stuff that confronts them.
Even then, the main descriptors of music that he uses are "beautiful", "glorious", "gorgeous", "grand", "lovely", "magnificent" and "wonderful".
His limited vocabulary seems to vindicate the opinion of record companies that music magazines and critics are outsourced publicity and marketing departments, whose opinions can be bought with free CD's.
A Certain Delusion of Grandeur
Like much of the music of the Go-Betweens, this book is not by any means an essential work of art or criticism, but an indulgence. It doesn't have to be yours.
TWEENY LYRICISM
Headstrong
[Thanks to
the Author]
I've got some kind of feeling,
Think it's a matter of fact.
I never liked your writing,
So what could be wrong with that?
I suspect I don't belong
As part of your old boys' team.
Is it that I'm just headstrong
Or vent my head full of steam?
SOUNDTRACK:
January 18, 2020
Ahh reviews. Often they are riveting because they are mean. Robert Forster’s collection of reviews , mostly from ‘The Monthly’ are a joy because he is an enthusiast. There is no meanness here, well not much and when there is, like describing a Neil Diamond album as “retirement home pop” , it is funny mostly because he has raved about Diamond's genius beforehand.
You may remember Forster as the tall, awkward guy who fronted ‘The Go-Betweens’. I always thought he was somewhere on the autism spectrum but here he displays an ease with his subject (mostly music) and the motivations of those that make it.
Critics can sneer because they don’t know but Forster knows about the ups and downs of the music business as a business, as an artistic pursuit and as a technician. You learn stuff when you read his reviews. He is very generous with his insights but it never descends to being a smartarse. As a music enthusiast he likes, let us say an eclectic mix, everything from Nana Mouskouri to ‘The Monkees’. That, I think may be another key to his engaging attitude. He writes about what he knows and he likes. He is not forced to write about X and when he does not like something like a Roberta Flack concert he is not scathing but more genuinely disappointed.
He is authentic and insightful and he writes gloriously well.
You may remember Forster as the tall, awkward guy who fronted ‘The Go-Betweens’. I always thought he was somewhere on the autism spectrum but here he displays an ease with his subject (mostly music) and the motivations of those that make it.
Critics can sneer because they don’t know but Forster knows about the ups and downs of the music business as a business, as an artistic pursuit and as a technician. You learn stuff when you read his reviews. He is very generous with his insights but it never descends to being a smartarse. As a music enthusiast he likes, let us say an eclectic mix, everything from Nana Mouskouri to ‘The Monkees’. That, I think may be another key to his engaging attitude. He writes about what he knows and he likes. He is not forced to write about X and when he does not like something like a Roberta Flack concert he is not scathing but more genuinely disappointed.
He is authentic and insightful and he writes gloriously well.
April 12, 2026
Mostly a collection of reviews of albums, concerts and books with some other writings at the end. I know these are old so I didn’t expect to find out anything new but I did expect to enjoy the writing so I’m quite disappointed. They really aren’t all that interestingly written, they’re not witty or funny or even rude. Sure he does his research so knows the backgrounds of who he’s writing about but it’s just hohum. The best were the concerts , a Saints reunion and the Countdown spectacular (yes really!) in particular. Towards the end there are a couple of pieces about Grant McLennan following his death.
March 17, 2017
Really nice collection of random writings from one of the geniuses of The Go-Betweens. Largely music reviews, they are almost all engaging and passionate. Forster has always been a music enthusiast, so his reviews are mostly full of wonderful reactions to newer and older records. Even the reviews of artists I've never heard of were nice to read, and many of them inspired me to pick up the records I hadn't heard before.
On top of that, there are a few essays about his band and bandmate Grant McLennan, and those are fabulous and worth the price alone. There's also a short fiction piece about a 60s singer who never quite made it, as well as a few other fun pieces about music (like the 10 bands he wishes he'd been in). Throughout, his prose is amazing and delightful. Definitely an impressive little book, and easy to read.
On top of that, there are a few essays about his band and bandmate Grant McLennan, and those are fabulous and worth the price alone. There's also a short fiction piece about a 60s singer who never quite made it, as well as a few other fun pieces about music (like the 10 bands he wishes he'd been in). Throughout, his prose is amazing and delightful. Definitely an impressive little book, and easy to read.
January 15, 2020
Not for everyone but.....If you are familiar with underground music and are familiar with post punk, new wave, from a certain vintage, then you’d know the Go-Betweens whom made sublime music, from a rich Brisbane rock and roll pedigree. Excellent, concise essays and reviews from a songwriter who carved a great niche of musical contribution along with Grant Mclellan (RIP)....think the Oz Velvet Underground, perhaps? I hold them in high esteem. Mr. Forster has a keen eye/ear for finding nuance as to why a song or lyric is special. I was introduced to some music I’d probably never heard about, Gurrumul Yunupingu or about artists already well known, such as Guy Clark. Well worth exploring. My favorite sort of book, when I feel there is a subject I’m really well versed at, I get schooled.
April 26, 2021
This is more than a curiosity – an edited collection of reviews penned by one half of the song writing team of Brisbane’s The Go-Betweens, producers of superior indiepop in the 1980s, the pieces are something of a delight. Forster tackles his subjects with considerable charm while encapsulating a time and a place when the world seemed considerably less complicated.
Looking back on the time span of the reviews (2005-2009), it was an era when I was a keen consumer of whatever was new in music and yet, it was a curious time when Alt-Country, folktronica and other styles heavily indebted to the past were afforded perhaps inordinate critical attention. In the UK, the influence of Uncut magazine and the 50 quid bloke (mea culpa on my part to the latter) had something to do with that – and this is certainly a mature set of musings. Hence, Dylan is God (something detectable in much of Forster’s music, although thankfully not the vocals) while the likes of Fleet Foxes, Bill Callahan, Devendra Banhart and Bonnie Prince Billy held sway in the land of indie – indeed, myself and a colleague coined the terms ‘Fowlie Music’ or ‘Sutton music’ to summarise this tendency towards a love of singer-songwriters – named after two friends with bulging record collections. Forster expertly captures the times very well indeed while also making heavy reference to the 1960s themselves. He’s erudite, thoughtful and encouraging.
Tellingly, Forster can write about a band whom I for one had never heard of – Hunters & Collectors – and make it a gripping tale of missed opportunity – while he is also predictably forceful on the early death of his partner Grant MacLennan. The reviews appeared in an Australian publication and that almost makes things more fascinating – who knew that Don Bradman and Shane Warne have been immortalised in the world of Aussie rock?
Looking back on the time span of the reviews (2005-2009), it was an era when I was a keen consumer of whatever was new in music and yet, it was a curious time when Alt-Country, folktronica and other styles heavily indebted to the past were afforded perhaps inordinate critical attention. In the UK, the influence of Uncut magazine and the 50 quid bloke (mea culpa on my part to the latter) had something to do with that – and this is certainly a mature set of musings. Hence, Dylan is God (something detectable in much of Forster’s music, although thankfully not the vocals) while the likes of Fleet Foxes, Bill Callahan, Devendra Banhart and Bonnie Prince Billy held sway in the land of indie – indeed, myself and a colleague coined the terms ‘Fowlie Music’ or ‘Sutton music’ to summarise this tendency towards a love of singer-songwriters – named after two friends with bulging record collections. Forster expertly captures the times very well indeed while also making heavy reference to the 1960s themselves. He’s erudite, thoughtful and encouraging.
Tellingly, Forster can write about a band whom I for one had never heard of – Hunters & Collectors – and make it a gripping tale of missed opportunity – while he is also predictably forceful on the early death of his partner Grant MacLennan. The reviews appeared in an Australian publication and that almost makes things more fascinating – who knew that Don Bradman and Shane Warne have been immortalised in the world of Aussie rock?
January 8, 2020
Forster in this selection of essays and other writings allows the reader to look back and explore. The music reviews are fantastic as Forster brings a sharp eye and a practiced ear to the writing. I have read many an album review and Foster's are the best. The research is wonderful and he does a great job of capturing on paper the sound of the artist.
I enjoyed the selection presented as it was not all glowing reviews. There was some well judged questioning of decisions to include and where tracks are placed. Forster takes a holistic view, from the art work, decisions on who to produce, song selection it is all there.
This is really a master class on writing meaningful reviews.
I enjoyed the selection presented as it was not all glowing reviews. There was some well judged questioning of decisions to include and where tracks are placed. Forster takes a holistic view, from the art work, decisions on who to produce, song selection it is all there.
This is really a master class on writing meaningful reviews.
Read
June 13, 2019Got this to discover new music and it wasn't that useful for that purpose
August 9, 2015
He's not even the only cultural Robert Forster (cf actor in Medium Cool, Jackie Brown etc)… His second name is apparently Derwent (apparently followed by third name Garth)… But this is definitely Robert Forster from the Go-Betweens.
The Go-Betweens were a big part of my adolescence, and then my second adolescence, and currently (despite being defunct) are making a bid to play some kind of role in my third adolescence. Forster, arch and arty and still appealingly scuzzy in his influences, marries a curious range of influences in his worldview. Somehow Christian Ryan, briefly his editor and the promoter possibly even creator of this new career as a rock critic, intuited that this kind of bookish culture vulture with a natural disdain for closed-shop highbrow shenanigans would be a natural, writing well and insightfully about a wide variety of albums.
And so it proved: Forster understands song construction, demands engagement, listens to lyrics,considers career-related issues, wants narratives in careers and dislikes being written off as a mere eminence grise. This means he is at home with the new indie kids, understanding their influences and seeing through some of their contradictions, but also with the pop wannabes. He lets the egomaniacs have their moment in the sun without just writing off their tics the way many do, but then demands they deliver. And he still occasionally gets emotional in the face of music.
This collection is a bit of a grab bag, with a pretty constant level of quality, that also includes some book reviews (essentially music-related books), a pair of pieces oone is ex-Go-Between partner, the late Grant McLennan, some live reviews, including a great piece on the Saints reunion of 2008 and a deepsixing of jaded Roberta Flack's contractual obligation concert against Leonard Cohen 's reversed retirement extravaganza, and an odd piece of fiction that seems like filler but probably wasn't designed to be.
For those who are not fans of the GoBs or Australian by birth or upbringing, then there are some potential turn-offs that will only multiply with the years that pass after 2009, when is was published. That is, that one of his strengths, his ability to evoke moments from the past and share them with people who were more or less also there, will not necessarily translate to someone from Michigan or Milton Keynes who most definitely wasn't there. However, he is a worthy critic, with things to say, indeed a fairly original angle, since not many critic's darlings then become critics in their own right. And he can write. Not all critics can say that. And he understands composition/recording, which is even thinner on the ground among the poison pen set.
The Go-Betweens were a big part of my adolescence, and then my second adolescence, and currently (despite being defunct) are making a bid to play some kind of role in my third adolescence. Forster, arch and arty and still appealingly scuzzy in his influences, marries a curious range of influences in his worldview. Somehow Christian Ryan, briefly his editor and the promoter possibly even creator of this new career as a rock critic, intuited that this kind of bookish culture vulture with a natural disdain for closed-shop highbrow shenanigans would be a natural, writing well and insightfully about a wide variety of albums.
And so it proved: Forster understands song construction, demands engagement, listens to lyrics,considers career-related issues, wants narratives in careers and dislikes being written off as a mere eminence grise. This means he is at home with the new indie kids, understanding their influences and seeing through some of their contradictions, but also with the pop wannabes. He lets the egomaniacs have their moment in the sun without just writing off their tics the way many do, but then demands they deliver. And he still occasionally gets emotional in the face of music.
This collection is a bit of a grab bag, with a pretty constant level of quality, that also includes some book reviews (essentially music-related books), a pair of pieces oone is ex-Go-Between partner, the late Grant McLennan, some live reviews, including a great piece on the Saints reunion of 2008 and a deepsixing of jaded Roberta Flack's contractual obligation concert against Leonard Cohen 's reversed retirement extravaganza, and an odd piece of fiction that seems like filler but probably wasn't designed to be.
For those who are not fans of the GoBs or Australian by birth or upbringing, then there are some potential turn-offs that will only multiply with the years that pass after 2009, when is was published. That is, that one of his strengths, his ability to evoke moments from the past and share them with people who were more or less also there, will not necessarily translate to someone from Michigan or Milton Keynes who most definitely wasn't there. However, he is a worthy critic, with things to say, indeed a fairly original angle, since not many critic's darlings then become critics in their own right. And he can write. Not all critics can say that. And he understands composition/recording, which is even thinner on the ground among the poison pen set.
November 22, 2015
It really is a gift to take something that I am not remotely interested in and, well, make it engaging. Robert Forster has this gift. I can see why he was chosen as a reviewer for the Monthly. Some of his writing made me want to race out and buy albums (Antony & the Johnsons I'm looking at you specifically). He weaves research, band history, personal anecdote and opinion into a few pages which will make you look at something completely different. But I guess the sections many of us who bought the book wanted to read most were his tributes to Grant McLennan. Friend, collaborator and gifted songwriter. These pieces gave insights to both Grant and Robert, while exploding the idea many of us had regarding who was the wild day dreamer and who was steadfast and orthodox (in an alternative, indie, velvet underground worshiping kind of way). As a taste of Robert the person, and Robert the writer it left me wanting more. Like an aperitif, I am hoping the main meal is coming one day soon. I hope there is a memoir or more long form writing on it's way. But thanks for this collection in the meantime Robert.
October 19, 2015
This was a bookclub book. I love music and was very eager to see what this book would reveal on some of the most loved and renowned musical artists and bands of our time. No doubt that Robert Forster is a master of language and writes very well. He clearly has a passion for music and his writing flows like lyrics off the page. However the book is just a series of music reviews he has selected from his writings with Rolling Stone and so they have no chronology, no linking or connection. Initially I was fascinated that anyone would dissect a song and music in such a way..then I struggled to stay connected with some of the background to a bands musical genre and then I just lost interest. Sometimes I really enjoy a meal but I don’t want to watch the animal die to learn how it got on my plate… You would have to absolutely love every aspect of music to enjoy this book.
January 13, 2013
A collection of Forster's music writings as quirky as the man himself. Wasn't familiar with some of the bands but it mattered not ~ because my curiosity was piqued and I wanted to know more. As a Go Betweens fan the two pieces on Grant I found deeply moving. This collection covers 05/09 Im hoping somewhere the next collection is bring collated. And as the icing on the cake - I have a signed copy!
September 3, 2014
A £3 pickup read whilst in the thick of 'One Palestine, Complete'. Forster writes with wit & insight through a series of album & gig reviews. Interesting to imagine other treasured songwriters turning critic, it seems almost a betrayal of his craft!
Typically, the best writing is saved for two obituaries of his Go-Betweens partner & soulmate of 30 years Grant McLennan. I won't butcher them here, they should be taken straight up, so tender & affectionate.
Typically, the best writing is saved for two obituaries of his Go-Betweens partner & soulmate of 30 years Grant McLennan. I won't butcher them here, they should be taken straight up, so tender & affectionate.
July 7, 2023
The fact that Robert Forster is a dab hand when it comes to writing music reviews, shouldn’t really come as a huge shock. What was a pleasant surprise was how much the reader can glean about Forster’s own songwriting from what he writes about others.
Along with various reviews are a couple of touching pieces about his former bandmate, Grant McLennan and some amusing fiction. A decent companion to his superb Grant & I.
Along with various reviews are a couple of touching pieces about his former bandmate, Grant McLennan and some amusing fiction. A decent companion to his superb Grant & I.
June 4, 2015
This is an absolute cracker of a book. Robert Forster writes as elegantly as he dresses. His knowledge of music (technique, idioms, lyrics, EVERYTHING) is intimidating but never show-offy.I have a notebook full of his recommendations and comments - a quick trip to Play or Thomas on Bourke Street is definitely in order after reading this book. Can't praise it highly enough.
September 3, 2023
Another from the academic canon. Few have the intellectual insight Forster brings to his material.
From my Medium review at: https://medium.com/music-voices/the-r...
From my Medium review at: https://medium.com/music-voices/the-r...
July 7, 2011
Read review in recent Option, http://option-magazine.com/2011/06/23...
August 4, 2011
Excellent compilation of rock and roll criticism by the former Go-Betweens singer and songwriter. As a musician himself, his perspective is fascinating.
Displaying 1 - 18 of 18 reviews