Going back to Glasters
Waterboys · Other Songs - Waterboys
back in 1984
(Karl and Kev, Barv on bass
/
Karl on keys, Kev on drums)
and Anto man made four
I stayed up all night wide awake
wearing a mile-wide grin
Diggin' the transient city
and all that grooved within
Played a storm in '86
felt like we were the kings
Fiddle bows and mandolins
sure broke a lot of strings
We played "Purple Rain", "Medicine Bow"
and "The Healing has Begun"
I climbed the tor at the break of dawn
just to salute the sun
And I'm goin' back to Glasters walkin' tall
Yes I'm goin' back to Glasters walkin' tall, walkin' tall
I'm goin' back to Glasters, I can't go any faster
I'm goin' back to Glasters, that's all
The next time was '89
with the raggle-taggle band
We were jammin' jigs and reels
in a backstage transit van
I wore a wedding suit
I sang "When you go away"
Sharon Shannon's accordion
was the soundtrack of the day
And I'm goin' back to Glasters walkin' tall
Yes I'm goin' back to Glasters walkin' tall, walkin' tall
I'm goin' back to Glasters, I can't go any faster
I'm goin' back to Glasters, that's all
Five years later I returned
a different man of course
I guested with the boy McNabb
and the mighty Crazy Horse
I cranked up the red Les Paul
and I let the bastard rip
I'm coming back this year for sure,
I might even be hip
And I'm goin' back to Glasters walkin' tall
Yes I'm goin' back to Glasters walkin' tall, walkin' tall
I'm goin' back to Glasters, I can't go any faster
I'm goin' back to Glasters, that's all
Going back to Glasters
Released by The Waterboys, 'Going back to Glasters' stands as a defining track from their early career, capturing the band's unique blend of folk-rock and theatrical storytelling. The song reflects the group's deep connection to Irish musical traditions while introducing their signature vocal harmonies and intricate arrangements. It serves as a testament to their ability to weave personal narrative with broader cultural themes, establishing a sonic identity that would influence the alternative rock scene for decades. The recording exemplifies the era's shift toward more organic instrumentation and poetic lyricism, distinguishing The Waterboys from their contemporaries through a distinct, emotive sound that remains highly regarded in discussions of 1980s British music.

