UPDATED 21st Nov. 2023 (31 years after the founding of Goya's Child (Original) by Ian and James in mid-1991). Dozens of links to songs, band posters and media have been added to this page and you can now listen to almost 4 hours of music by GC 1 (1991-93), GC2 (1994-2014) and Ian Irvine Solo (feat. Re-imaginings of songs by Goya's Child (Original)) located at various sites on the WWW. A comprehensive band history - to late 1993 - of Goya's Child 1 has been augmented by a summary of GC2's achievements.
Goya's Child (1 & 2) were an Anglo-Australian 1990s alternative rock band initially based in central Victoria, Australia. Over its two incarnations the band produced a number of tapes and CDs and many of the band's songs featured on national and Victorian radio stations in the early to mid-90s. Goya's Child (2) also contributed many songs to the sound track for the Australian SF movie 'Freedom Deep'. The band has also been listed in the 'Who's Who of Australian Rock' since the mid-1990s This page mostly showcases the band's early history, the period when Ian Irvine was lead singer and co-lyricist (1991 to October 1993). However, links to Goya's Child (2) Reverbnation and Youtube sites are also active. Those sites showcase mostly GC2 material (though with reworked arrangements of a number of GC1 songs). The band has inspired, or been mentioned in, poems, art, a novel and a film. It has also inspired a number of nonfiction articles.
"Goya's Child were one of the most interesting Australian post-punk, gothic-grunge conceptual bands of the 20th century's fin de siecle. Though little known outside of Victoria (Australia), they are slowly gaining recognition as one of the most haunting and substantial Australian bands of the era."
As of December 2022 the near complete Goya's Child (1 & 2) oeuvre is on display via two sites: the GC (2) Reverbnation and FB sites, and the Ian Irvine/Solo (feat. GC 1) Reverbnation site. Ian's aim over the past (almost) four years has been to honour the uncanny 'Spirit of Ultimate Potential' that became resident in the band around July 1991 - note: our 30 year anniversary passed in July 2021!!
*The Loss of Liam Thorpe (2018): Everyone connected to Goya's Child (both incarnations) and the central Victorian music scene generally, were devastated by the news of the tragic passing of Liam Thorpe, former Goya's Child (both versions) vocalist, song-writer and bassist, and long-term contributor to the region's music scene. He was also a wonderful sole performer, as well as a member of several other bands - e.g. Healers of Hurt - and contributed much to the running of the Bendigo Blues and Roots Festival. He was aged just 49. Liam's incredible creativity and stagecraft whilst performing contributed much to both versions of the band and his warm, ebullient, friendly, mercurial personality has been sadly missed by all. His contributions to the music of both incarnations of Goya's Child live on and the remaining members are fully committed to keeping that legacy alive. We also note that Liam was a psychiatric nurse in his 'other profession' and the care he bestowed on so many people across this region, for almost three decades, will never (should never) be forgotten. In the old days music was frequently associated with psychospiritual healing, and the 'musician' and the 'healer' were merged vocations. Such was the case with Liam and to some extent it was also a guiding principle of Goya's Child's music. Rest in Peace Liam.
*The Loss of James Mannix (2014): On December 17th 2014 Goya's Child former lead/rhythm guitarist and co-songwriter, James (Dennis) Mannix, passed away at age 52. The songs he helped write and perform for both versions of the band stand as a summary of his creative legacy. Although he and I (Ian) only wrote music together for three years, the output of that partnership lives on even now, 30 years on. His gift was the capacity - through musical collaborations - to reanimate the world around him, despite being quite an introverted person. I want his children to know that the songs and unique sounds he helped create with Goya's Child (Original), all those years ago, continue to live on. He brought his great knowledge and love of classical guitar to bear on all of his original electric guitar work with Goya's Child (at times exhibiting sheer genius!). The Victorian music scene has lost a sensitive, skilled (especially with guitar), and highly creative alternative rock musician.
Introduction: The new additions to this page are designed to go some way toward outlining/archiving a close to complete picture of the band's musical oeuvre: 48 songs (about 31 of them co-written with Ian), plua 4 song fragments, plus any other material in the GC 2 archives (1994-2010). It is a story stretching back to mid-1991. Acknowledgement of this full story enhances our understanding of the creative achievements of both versions of the band.
NEW: Forte Magazine article by Chester Ogilvie, published in Sept. 2020, lists and develops a timetline for some of the iconic bands and artists that have either visited, or have operated out of, Central Victoria over the past 30 years. Goya's Child (Original) get an early mention.
Many people have contacted Ian since 2018. Many thanks for your kind comments, and, in some cases, for sending on Goya's Child (Original) memorabalia and song recordings from the early 1990s. Page content now closely matches your collective recollections of band gigs, meetings/interactions and band practices held in the early 1990s.
1) The Full GC 1 and GC 2 Song List (with Attributions and Links)
[PLEASE NOTE: Goya's Child (2) and Ian Irvine - Solo versions of songs were recorded professionally using digital technologies. However, many Goya's Child (Original) recordings were pre-digital recordings from live gigs, jam sessions, video recordings or tape recordings (mid 1991 to late 1993), here converted to MP3 format. Only some of these early recordings now appear below]
Goya's Child (Original) Songs (1991-1993)
Ian Irvine's lyrics and lyric melodies were used for the Following Songs:
“Goya’s Child” [Lyrics/lyric melodies: Irvine, Music: GC 1 all rights reserved 1991] Access: Irvine's version (2019), copyright Irvine all rights reserved. (See also the VIDEO). [Golden Vine Hotel 1992 (GC Original version) available on request]. [Please note: Poet/writer Rod Blackhirst regularly recited a modified version of Ferlinghetti’s poem ‘In Goya’s Greatest Scenes’ at live performances of this song.]
“Words Of Warning” [Lyrics Irvine. Music: GC 1]. (For Irvine's 2018 version: Words of Warning ). Also, for video of Irvine's 2019 version/re-imagining: 'Words of Warning (VIDEO)'. [Live version by GC 1 available on request.]
“Wasteland” [Lyrics: Irvine, Music: Mannix]. For Irvine's 2018-19 version: Wasteland. [Goya's Child (Original) version (1993) available on request].
"Unfeeling Man": For Irvine's 2018 version: “Unfeeling Man” (2018 version is copyright Ian Irvine, all rights reserved.) For VIDEO (2019) [Originating Copyright: Lyrics/lyric melodies: Irvine, Music: GC 1.].
"Lady of the Tower": [Lyrics/lyric melodies: Irvine; Music: GC 1. 1992 all rights reserved] For the 2019 version by Irvine (all rights reserved): “Lady of the Tower (2019).”
“City Lights” [Lyrics/lyric melodies: Irvine, Music: Mannix.] For the 2019 version (by Irvine). For 2019 version video. [Original Mannix/Irvine version available on request]
“Nobody’s Child” [Lyrics/lyric melodies: Irvine, Music: Mannix 1991, all rights reserved.] Access the Irvine (2019) version (copyright Irvine all rights reserved) [Original Mannix/Irvine version (1991) available on request.]
“Revolution” For 2019 Ian Irvine- Solo version [Original copyright: lyrics/lyric melodies Irvine. Music: Thorpe, Mannix, White and O'Neill 1992].
“Turn That Clock Around” [Lyrics/lyric melodies: Irvine Music: Mannix 1991]. For Irvine's 2019 version and for Video (2019) copyright Irvine, 2019, all rights reserved.
"Vision in the Desert" For Irvine's 2020 version [Lyrics/Lyric melodies Irvine, Music: GC 1, 1992]
"The Loser" For Irvine's 2020 version. [Original copyright: Lyrics/lyric melodies Irvine, music GC 1]
"Orpheus and Eurydice" For Irvine's 2020 development of a short jam session fragment from the summer of 1992-93. Copyright: Irvine, 2020, all rights reserved. (Originating copyright: lyrics/lyric melodies: Irvine: Music: GC 1 all rights reserved 1992-93).
"Waterside" For Irvine's 2020 version, copyright Irvine, 2020, all rights reserved. (Originating copyright: Lyrics/Lyric melodies Irvine, Music GC 1, 1991).
“Going Down” (Lyrics: Irvine: Music GC 1).
“On the Dark Streets” For Irvine's 2020 version.Copyright: Ian Irvine, 2021, all rights reserved. (Originating copyright: Lyrics/lyric Melodies: Irvine, Music: GC 1, 1992).
"Gypsy (Eyes Shone Like the Sun)" For Ian Irvine (solo) 2021 version; Copyright: Ian Irvine, 2021, all rights reserved. (Originating copyright: Lyrics/Lyric Melodies: Irvine/Thorpe, Music: GC 1, 1993, except new Chorus: words and music for that, copyright Irvine, 2021.).
Lyric Collaborations Took Place between Ian Irvine and Liam Thorpe for the following songs:
(Music attributions mostly Mannix, O’Neill, Thorpe and White, lyrics/lyric melodies = Irvine and Thorpe):
“Day After Day” Ian Irvine (Solo) version Copyright Ian Irvine, 2019, al lrights reserved. (Originating copyright: Words: Irvine/Thorpe, Music: GC 1 copyright 1992, except new chorus copyright Irvine, 2018).
“Underground” For Irvine's 2019 version Copyright Irvine, 2019 all rights reserved]. [G.C. 1 version (1992) available on request.] (Originating copyright: Lyrics/Lyric melodies:Irvine/Thorpe, Music: GC 1.]
“She Must Be Sleeping” [Hear the GC 2 version.] Also: Ian Irvine (Solo) version (copyright, Irvine, 2019, all rights reserved) feat. world premier of Ian's new chorus lyrics. (Originating Copyright: lyrics/lyric melodies: Irvine/Thorpe, Music: GC (1), Feb 14th 1992 all rights reserved. New Chorus copyright Ian Irvine, 2019). Hear the GC 1 version.
“Haunted Lullaby/”Whip” [Hear G.C. 1 version. Also GC 2 version here. Also, Ian Irvine (Solo) version, 2019 (with new Middle 8). Words: Irvine/Thorpe, Music: GC (1) Jan 1992, all rights reserved.
"House of Dreams (House of Tears). Hear the Ian Irvine (Solo) version (copyright Ian Irvine, all rights reserved, 2022).[Originating copyright: Lyrics/lyric melodies Irvine (verses and chorus), Music: Goya's Child (Original) 1993 (Note: Thorpe contributed important chorus harmonies), all rights reserved].
"Dark Song" [GC 1 Version]. Words: Irvine/Thorpe, Music GC 1. For Ian Irvine (solo) version (2020).
“The Arabian/The Egyptian” [2 distinct versions of this song (from the perspective of lyrics) were written. Hear the GC 1 version. This involved a lyrical collaboration between Irvine and Thorpe and was played regularly at GC 1 gigs (1991-93). [For Ian Irvine - Solo version (2020) and for the GC 2 version]
“Freedom Row/Shine Your Light” [Two versions of this song (from the perspective of lyrics) were written. The GC 1 version featured a lyrical collaboration between Irvine and Thorpe (for 2020 Ian Irvine remake of 'Freedom Row'). Liam’s lyrics prevailed in later GC2 versions (named: 'Shine your Light"). Music: GC 1. [Hear GC 2 version “Shine Your Light”, First ever GC (Original) jam session as" "Freedom Row"].
“Gods of Autumn/Daddy’s Dance”: [Two versions of this song are extant. 'The Gods of Autumn' feat. regularly at early gigs (1991-93). It feat. mainly Ian's lyrics. (Hear Ian Irvine - Solo (2019) version). GC 2 revamped the song as “Daddy’s Dance”. That version feat. only Liam's lyrics. [GC 1 version of Gods of Autumn available on request.]
“Sad (How the World Turns Cold)" and "So Sad”: [2 versions extant.Click for Irvine (Solo)'s 2020 rework of the G.C.(Original) which feat. only his lyrics. Hear the GC (2) version which: feat. only Liam's lyrics. The GC 2 version also feat. on Freedom Deep soundtrack. [Original GC 1 jam versions available on request] [Music all versions: GC 1].
“Again and Again”: Ian Irvine (Solo) 2020 version, copyright: Ian Irvine 2020, all rights reserved. (Originating copyright: Lyrics/lyric melodies: Irvine/Thorpe, music: GC 1.)
"Go (Why Don't You)" For the Ian Irvine (Solo) version, copyright Ian Irvine 2020, all rights reserved.[Originating copyright Lyrics: Irvine/Thorpe, Music: GC 1, 1992.]
"Insanity" Ian Irvine (Solo) version 2020. [Originating copyright: Lyrics: Irvine/Thorpe, Music GC 1, 1992]
“Time, My Friends” For Ian Irvine (Solo) version (2021); Copyright Ian Irvine 2021, all rights reserved. [Originating copyright: Lyrics: Irvine/Thorpe, Music GC 1, 1992]
Liam Thorpe's lyrics were used exclusively for the following GC 1 songs:
“Get Me A Lawyer” [Hear GC 1 version. Also: GC 2 version. [Music this song: Mannix, O’Neill, Thorpe, Irvine and Y.T.]
“With the Muse” [GC 2 version]. [GC Original version available on request] Note: this song's lyrics and music were both written by Liam Thorpe].
Liam Thorpe also wrote the lyrics to songs performed and recorded by Goya’s Child (2)
“All I Want To Know” [Hear the GC 2 version]
“Pure” [Hear the GC 2 version].
“Earthly Kiss” [Hear the GC 2 version]
“Autumn” [Hear the GC 2 version].
“Wailing To The Waves” [Hear the G.C. 2 version]
“Day Trip” [Hear the G.C 2 version]
“You Sad Boy” [Hear the G.C. 2 version]
Other Songs by Goya’s Child (1) (Music usually by Thorpe, Mannix, O’Neill, White and (occasionally) Irvine):
“Burn Like Angels” (Lyrics: Irvine/O’Neill Music: GC 1). Ian Irvine (Solo) 2020 version. [Several GC Original (1991) versions available on request. Music: GC 1]
“Candleflesh” Goya's Child (Original) 2 min sample, from ealy 1993). Music: GC 1
Significant Goya's Child 2 Instrumentals:
A number of these are well worth a listen.
[Music GC 2 all three pieces].
“Saqqara Temple Sandstorm (Part 1 and 2)”
"Picture a Calm Storm"
"Clocks And Gulls".
Significant Goya’s Child (1) Song Fragments:
In the GC 1 archives are 4 significant remaining “song fragments”: “Message Song” (Irvine/Thorpe, Music: GC 1 ); “Live in Hope” (Thorpe, Music: GC 1); “Darky CIA Man” (Thorpe words and music); “Love and Drugs and Money” (Irvine/Thorpe Music: GC1).
2) The Band's Overall Feel (Plus some reviews)
The overall feel of a GC1 performance was that of late 80s early 90s alternative rock, think The Cure, The Pixies, The Smiths, Nick Cave, The Smashing Pumpkins, The Stone Roses, U2 etc. - our trademark sound featured hypnotic distorted/echo rhythm and lead guitar instrumentation, backed by expressionistic vocals, heavy bass riffs and haunting gothic synth sounds.
Given Ian was born, and for a time raised, in Manchester, UK, Goya's Child (Original) were also influenced by the various international music revolutions that washed through that city. He was born in the midst (historically and geographically speaking) of a remarkable 'creative cluster' of now internationally famous punk, post-punk, psychedelic rock, Indie Rock, etc. musicians: e.g. Ian Curtis, Ian Brown, Richard Ashcroft, Mick Hucknall, the Gallagher brothers, Morrissey, Bernard Sumner, Mark Smith, Timothy Burgess, Shaun and Paul Ryder, Peter Shelley, Jim Glennie, Paul Gilbertson, Graham Massey, as well as many of the members of bands like The Drones (UK), Inspiral Carpets and Slaughter and the Dogs. Ian is sometimes nicknamed 'the Antipodean Son of the Manchester Scene', and thus Goya's Child (Original) might be best understood as a unique fusion of Australian garage alt. rock with the Manchester/Madchester alt. rock of the 80s and 90s.
REVIEWS
We possess a small number of reviews of Goya's Child (1) gigs/recordings. Goya's Child (2), on the other hand, was reviewed more often, partly due to the band's longevity and partly due to its assocation with the movie Freedom Deep (click here to watch movie in its entirety). The music soundtrack, which features mostly GC 2 songs, was positively received (for the most part). Ian Irvine - Solo (feat. GC Original) songs have also been very positively reviewed since 2018.
"Very Bauhaus" - "They have a great sound ... Very gothic ... Very Bauhaus." ABC JJJ radio presenter reviewing Goya's Child (1)'s song Get me a Lawyer on Australian national radio, autumn of 1993.
"Stop whatever you are doing!" "Emerging from the Stygian depths of legend and mythology a primal scream echoes across the wasteland of the late 20th C. This cry of anguish is a vision with a name - the name is Goya's Child. ... Stop whatever you are doing and lift your head to capture the strains of "She Must be Sleeping" as you've never heard it before. Then ask yourself why your life is as it is ... as the memory of something wonderful slowly exits your mind ..." Peter Pascoe, Phoenix FM, early 1993..
"The Spiritual journey that is Goya's Child" - “Rising out of the apocalyptic mire of societal degeneration comes Goya's Child, offering a cerebral celebration of the mind and senses. The spiritual journey that is Goya's Child is one that is perhaps loaded with angst, perhaps frustration, but the omni-present message of societal regeneration is there. It is felt in the somewhat dislocating vocals, the hypnotic distortion of the keyboards which are framed around jarring guitars and abrupt drum beats. The senses are revitalised, the mind warped, the body wracked. This is it and Goya's Child know it!” Kid - 3rd Degree, La Trobe University Student Magazine, 1992.
"Great, no: Bloody Great Music!" 'Is There a soundtrack CD available, I really liked the music in the film - very different, somewhat spiritual with tribal earthly sounds. Great, no: bloody great music. Where is this band Goya's Child??????' by Ben Goddall (2010)
"Decent Music" ...'The music [to Freedom Deep] is by Goya's Child which is a band I'd not heard of before. So I guess I got something for my $2.99." cjgrayso (US)
"Smells Like 90s Teen Spirit on Mescaline" ' ... The soundtrack is by Goya's Child, of whom I'm now a huge fan. So I guess that's a silver lining to [the otherwise] bad audio. ... Anyway, don't believe the wildly harsh reviews. Just know what you're getting into before you pop in, an hour long surreal music video while expecting Mad Max." Shep Smith, 2015.
"Weird But Wonderful": 'The soundtrack drew me in and took me on a journey with the actors to a deep and dark place where our minds dare not go.' Annette7171, Australia (2013)
Note: Goya's Child (2) were also reviewed by a number of Tasmanian newspapers in the mid-1990s.
3A) The Pre-History of Goya's Child 1 (1987-1991) [Ian's version ...]
Goya's Child (1) was founded as a musical entity in the winter of 1991. However, the actual name was first used in 1987 for a family band that never really got off the ground. At the time I was influenced by Arthur Janov's Primal Scream psychology - Janov theorised that childhood in the modern industrialised world is inherently traumatic. Needless to say Goya's famous painting, 'Saturn Devouring his Son' encapsulated the themes most spectacularly. Between 1987 and 1991, I used the name 'Goya's Child' in relation to dozens of original songs I was writing. However, although some of the songs showed promise, I was too musically inept to showcase them properly. This is despite many of them being recorded at a local sound studio run by John Drougas (who played guitar on a number of the tracks we recorded together). I still possess dozens of cassette tapes from that period.
Upon returning to university in 1990, I became friends with James Mannix. We were soon writing songs together, and by the autumn of 1991 we decided to form a band. The name was a no-brainer: Goya's Child.
The purchase of both a top of the range synthesiser (a Yamaha SY77) and a top quality sound system (with the requisite 'vocal effects' unit!) sent us looking in earnest for a bassist, a drummer and a synth player.
By September of 1991 Liam Thorpe (bass and back up vocals) and Richie O'Neill (drums) had joined Goya's Child.
From September 1991 up till December 1991 Goya’s Child jammed in a warehouse in the middle of Bendigo called Artspace.The music began to flow fast and furious, many of the band’s better songs came in the next six months. It was during this period that our own peculiar style – gothic, bleak, melodic, dark, and poetic – was established. In general I sang lyrics into a microphone, Liam backed them up or sometimes sang his own stuff, and James improvised on guitar. Often songs came out all but complete on the first recording. Our general theory was that a musician/artist/poet should open up to the unseen inspirational elements in one’s unconscious and the cosmos. The "Spirit of Ultimate Potential" continued to visit us at regular intervals.
3B)Goya’s Child (1) from 'Garage Band' to a 'Working Performance Band'
In October and December of 1991, “Goya’s Child” played their first gigs in front of audiences. Both gigs were Parties at 22 Clarence Avenue in Kennington, Victoria. It was at the second party late in December 1991 that Y.T. (Steven White) joined the band as a keyboard player. Around the time Scott Hunt also became the band’s mixer, and eventually its part-time manager. From January 24th1992 up until late September 1993 the Original “Goya’s Child” (Goya's Child 1) played dozens of Gigs.
The first public gig was at the Brian Boru Hotel, in Bendigo, Victoria on the January 24th 1992. Various memorable gigs deserve a mention (at a range of venues across Victoria): the Waterloo Hotel (also gigs 2 and 3 and (NEW 13/9) 4);the Golden Vine Hotel (4 gigs); Velvet’s Nightclub (more media); various Artspace gigs [1 and 2 and 3 and NEW 13/9: Double poster for Artspace Music Weekend, 1992]; Fusion 92 (at the Theatre Royal in Castlemaine) and various Latrobe University gigs [Band Pass front/ back: 1 Bruce Week Battle of the Bands; PJ Party gig: 2A and 2B + Media]; the Council Club gig (Wangaratta); the Amnesty International Benefit gig; a gig in Shepparton (on the Murray river) in 1993; The Brougham Arms Hotel gig , The Crown Hotel gig and the Richmond Club gig (Melbourne) (Beat Mag media/ad) more media.]
In September 1992, “Goya’s Child” released an Official Bootleg Cassette of Live Recordings, self-titled “Goya’s Child, The Red Cassette” which contained 7 Tracks recorded Live, including Words of Warning (Live), Whip (Live), She Must Be Sleeping (Live), Goya’s Child (Live), Dark Song (Live), The Arabian (Live) and Underground (Live). [NOTE: The original cassette cover shows copyright for the 7 songs distributed evenly among all five members of the original Goya's Child, matching police signed song sheets of the time and archival recordings of jam sessions. These original attributions have been mirrored in the listings for the seven songs displayed above.] Only 50 Taped copies were made. The quality of the recording, unfortunately, wasn’t very good as the sound was taken from a video cassette. [See also this GC (1) cassette from the same period].
Between the 16th and 18th of May 1993, the Original “Goya’s Child” recorded several tracks as a demo at Stan Jez’s Studio, in Castlemaine, Victoria, after Stan spotted them at one of their gigs, and suggested that the band should put down some recordings. The original recordings were made on an 8 Track Recorder, then mixed by Stan Jez and Brooch. Song’s recorded included “Get Me A Lawyer”, “She Must Be Sleeping”, “Whip"/"Haunted Lullaby”, “With The Muse” and “The Arabian"/"The Egyptian”. Ian worked with the others and with Stan on these songs during the winter of 1993. The sessions built on earlier recordings at a studio in Melbourne. Some GC 1 songs circling on the WWW are from those early-to-mid-1993 Castlemaine recording sessions as well as from the ‘bootleg’ cassette assembled from videos of a 21st party and live pub gigs.
It was as GC 1 i.e. a 5 Piece, that the band first appeared in the historically iconic Whos Who of Australian Rock (numerous editions: see 4th Edition (cover) and GC 1 4th Edition Listing as an Alt. Rock outfit. See also the 2004 edition G.C.(1 & 2 combined) listing as an ‘Alt, Goth UK Keyboard band', hmm!) + 2004 Cover). That GC 1 recording of Evil (Get my a Lawyer) was also played on JJJ radio across Australia (a recording survives). Also a version of 'She Must be Sleeping', from the Melbourne recording sessions, featured around this time (May 1993) on central Victorian radio – though the quality of that recording was low due to problems with recording the bass). "Words of Warning" also featured on central Victorian radio around that time when Ian and Richie were also interviewed.
In late September, early October 1993 the Original “Goya’s Child” consisting of Ian Irvine (Vocals), Liam Thorpe (Vocals and Bass Guitar), James Mannix (Guitar), Y.T. (Keyboards) and Richie O’Neill (Drums and Percussion) played their last gig together at the Golden Vine Hotel in Bendigo, Victoria as part of a multi-band TAFE music department band night. Shortly after this gig Ian left on an overseas trip. Though the band didn’t formally split until February 1994 (after Ian’s return from overseas), late 1993 is an accurate date for GC 1’s demise since Goya’s Child (2) began playing gigs together as a four piece in the last couple of months of 1993.
[Also, in 2016, Goya's Child (1) "Original" was briefly mentioned, alongside fellow central Victorian alt. rock band Interstitium, in the Australian SF/Quantum Fiction novel The City of Quartz (a novel). Both bands are set to play further fictional roles in upcoming novels linked to the Songs of the Interstitium book series and transmedia project.]
[The first poem - part of a series - published both conventionally and online about Goya's Child (Original) appeared in September 2018 (a melancholy piece triggered by the passing of Liam Thorpe). To read: "Goya's Child (Children of Munch)"]
Brief Summary of Goya's Child 2 Achievements:
From late 1993 on we need to speak of Goya's Child (2) since the band, though retaining some key aspects of Goya's Child (1) began to sound somewhat different as more of Liam Thorpe's original pieces begin to feature at gigs and in recordings.
Apart from continuing to appear at the popular venues GC1 had routinely performed at, Goya's Child 2 also played at a number of new venues between late 1993 and Feb 1st 1996 [the date of GC (Original) and GC (2's) last live gig - gig number 151, according to Richie O'Neill]. Bendigo/Central Victoria Venues: Park View Hotel, Junction Nightclub, Cumberland Hotel, Clockwork Orange (nightclub), Rosalind Park Central Bendigo (band night), Williamson Street (for the New Years Eve party - employed by the Bendigo City Council), The Golden Fleece Hotel, etc. The band also performed at iconic Melbourne and Tasmanian live music venues including: Prince Patrick Hotel (Collingwood, Melb.), Empress of India (Fitzroy, Melb.), The Richmond Club (Melbourne), the Great Northern Hotel (Launceston, Tasmania), Trades Hotel (Launceston, Tas.), Duke of Wellington Hotel (Hobart, Tas.), Round Midnight (Hobart, Tas.), etc.. During this period the band also supported a number of iconic Australian acts including: Deborah Conway, Things of Stone and Wood and Def FX.
One of the biggest achievements of Goya's Child (2) was their inclusion on the soundtrack for the Australian SF/Fantasy/Post-Apoc movie Freedom Deep which was released internationally in the late 1990s (and also recut several times later). Although the recordings by Goya's Child on that film are perfomed only by the members of GC 2 (i.e. Thorpe, Mannix,O'Neill and White) a small number of GC 1 songs (i.e. co-written - between 1991 and early 1993 - with Ian Irvine) do feature on the soundtrack. The movie was a baptism of fire for director Aaron Stevenson and the small independent outfit that produced it (and for a variety of reasons - in particular the horrendous treatment meted out by the movie's first distributor). Overall, however, audiences seem to be appreciating Freedom Deep more and more as the years goes by. To watch the movie in its entirety click: Freedom Deep the movie.
Goya's Child (2) also went on to properly record (i.e. using digital technologies) a number of new songs, as well as a number of the best G.C.(1) staples (unfortunately, incorrectly attributed in some cases).
The ongoing 'bone of contention' over historic attributions to a small number of GC (1) songs used constantly by GC (2) is the primary reason that you will see very little communication between the two major Goya's Child presences on the WWW i.e. GC (Original Lineup) sites and GC2 sites.
The story of Goya's Child (2) is best told by the main G.C.2 sites operational on the WWW. The GC2 story (i.e. early 1994 onwards) tracks the flowering of Liam Thorpe as a lyricist, since he wrote a number of wonderful songs (lyrically speaking) between late 1993 and 1998 or so.
Goya's Child (2) at Reverbnation
*The History of Ian Irvine Solo (Oct. 2018-2022]? I.I. Solo is not a new band since the 30 songs (so far) associated with the project were all fully or partially written/co-written before Ian's departure from Goya's Child (Original) in late 1993. I.I. Solo is simply a memorial/winding up project designed to ensure that the close to entire ouevre of Goya's Child 1 (and therefore Goya's Child 'all incarnations') has been professionally recorded for posterity/family/friends/fans (especially given after the passing of James and Liam).
MORE Reflections/Context (Ian 2018-19)
"It is a sad fact that the various Goya's Child (2) sites, run now by Richie O'Neill and Stephen White, still do not correctly acknowledge my songwriting and performance contributions to the early Goya's Child. Luckily, friends, family, many of our fans, and others who knew the band back in the early 1990s have helped me develop a philosophical sense of humour about such ingenious, studious, systematised and calculated - acts of rock and roll "Ethno-Irvine Cleansing".
Back in 2010 it must be acknowledged that the above 'acknowledgement' situation was corrected publicly with regard to MOST GC (1) songs. Although I do not want to speak for Liam, it is a fact that in 2010 when the Book of Eli/Freedom Deep issue (see another media report here) was doing the rounds (Note: there were many Goya's Child 1 and 2 songs on the Freedom Deep soundtrack), as well as the John Mayer /Goya's Child (2) 'guitar riff issue', Liam and I had some heart to heart chats and email exchanges. Our conversations began, by the way, after I was approached, via email, by a Los Angeles TV/Media organisation specialising in celebrity news (they said they'd found my email address on the WWW via author bio notes linking me to Goya's Child). They were looking for someone from the band to stand behind G.C.2's comments (posted all over the WWW) re: the John Mayer/GC 2 'guitar riff' issue). Specifically, I was asked: "Do you guys intend to sue John Mayer?" Not surprisingly, given it was Liam's song, and I was not in the band anymore, I referred the TV station P.R. person to Liam. Maybe G.C. 2 did intend to sue John Mayer, I didn't know.
Regardless, Liam and I began to talk for the first time in 16 years. In those conversations we worked together to resolve some of the outstanding issues that had plagued the band since 1994. He even suggested putting my name back up as a 'former band member' at the various GC 2 sites and, presumably with Richie O'Neill's assistance and blessing (and presumably the blessings of Y.T. and maybe James), helped formulate the public statement of that year (2010) clarifying many outstanding issues. The statement removed most (but not all) of the band's historic 'points of discord'. Thankyou Liam for your courageous, healing intervention - I will always appreciate that gesture of goodwill."
4B) Frozen in Time: Late September 1993. The Goya's Child Audio Archive
Ian writes: "At the point of departing the band I had in my possession, as an archive, over 50hrs of jams, live and session recordings (spanning the period 1991 to September 1993) which I still possess to this day. Some of the song recordings in the archive are not too bad - the versions of GC1 recordings you will come across on the WWW are based on the best of these pre-digital recordings. There are many more hours of recordings, however, that are of a very low audio standard - they are not really fit for public release as anything but historic curiosities. Nevertheless, numerous versions of all the key GC 1 songs, as well as versions of all of the lesser used GC 1 songs, feature in the archive. In the archives we also find rich discussions, across the 3 years, sometimes involving all 5 band members, as they practiced, composed/developed iconic songs and in some cases performed them live (there are also recordings of key covers).
Also among the recordings are many discarded musical fragments - i.e. orphans that we failed in the end to link to other musical elements - verses, choruses, instrumental sections, lead breaks, etc. that led nowhere. Hours and hours of recordings! Ian has managed to incorporate many of those fragments into the 30 new pro produced songs for the "Ian Irvine Solo/ Goya's Child (Original)" Memorial Project but half a dozen promising fragments still remain in limbo, 'unproduced'."
See also: Goya'sChild (original Line-up) youtube playlist.
4C) Songs Created Outside of Goya's Child
*Liam Thorpe and Ian Irvine also wrote many songs outside of either incarnation of Goya's Child. In terms of Liam, we note his creative work with Lime Bucket, Surrender Munkies and Healers of Hurt.
*Similarly, James and Ian wrote a significant number of songs together in early 1991, i.e. before the band formed. Given many of those pieces were folk-acoustic pieces, they were not considered useful to the band at the time. However, "City Lights", "Nobody's Child", "Wasteland" and "Turn That Clock" were used by GC 1 and represent the fruits of that "pre-formation" period. [The pieces are attributed as follows: copyright Irvine (lyrics/ltric melodies) and Mannix (Music).]
*Ian has professionally recorded for the GC (1) archives/posterity new versions of 30 of the key GC1 original songs - but only songs in which his lyrics feat. you can access the Ian Irvine (Solo)/ G.C.(Original) site here: Ian Irvine - Solo and G.C. (1) Since 2014 he has also fronted, and composed songs for, award winning Australian Indie alt. rock band 'INTERSTITIUM'.
Ian imagines, with some frustration and regret, what the radio coverage of the entire professionally produced Goya's Child "All Versions" ouevre, could have amounted to had the band been able to benefit properly from the international 'WWW/Digital Music Revolution' of the last fifteen years. Sadly, the band's amazing back-catalogue of songs (totalling around 47 tracks, at minimum!) has received very little radio play over the decades, despite some key songs having feat. on a movie sound track and several having gained play on iconic Australian radio broadcaster JJJ Radio in the 1990s.
5) Some Public Thankyous
The following people sustained, challenged, inspired and/or supported 'Goya's Child (Original)' during its formative years.
In particular Ian would like to thank: John Holton, Cath Holton, John Charalambous, Evelyn Charalambous, Sean Stanyer, Gareth and Meagan, Alan Simmonds, Kyra Bethell, Lionel Exell, James Gaghan and Jo, Deanne and Toby, Sean and Min (and Colin), Scott Hunt, Scott Alterator, Peter Pascoe, Gary, Duncan, Wayne Blakely, Graeme and Karen, Al Cole, Scott, Shane Kendall, Donna, Deb, Rod Blackhirst, Jo, Mary Katai, Jackie and Jeff, all the graphos who contributed to GC (1) cover art, the members of The Poet's Mahone, Michele Stadler, Peter Stadler, Chris, Simmone, Jules, Mary, Karen and Kengie Hepworth, Kristen, Tim Jenkyns, Sara Gormely, Chappy, Sara Grimmer, Brett Hicks, Claudette, Harry, Roger, John, Clive, Bob, Gwen; the guys in Teenage Head, Tomorrow Wendy, Exit and Behemoth; the publicans at the Waterloo Hotel, The Golden Vine Hotel, The Crown, Velvets, and Brian Boru Hotel; owners/managers of other Victorian pubs, nightclubs and live music venues that employed us to play; everyone involved with Art Space. We're also grateful to the many GC regulars who turned up to our gigs because they loved the music.
Ian also wants to thank poet/writer/editor/artist, Dr Sue King-Smith, who watched it all unfold.
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Ian my friend - I first meet you in a caravan park, you told me your dream of a band...... I thought yar right.... Then Goya's Child - I was there in the early days and loved giving you guys support. It was a huge part of my life sharing your journey.... Then the spilt, it was my opinion that was going to be the end of the band (not taking it away from the other band members that did contiune and what they achieved). You were the drive in the early days, I remember we put together some posters and the excitement from you and how it would lift the spirts of the other band members.
I do find it hard seeing tube vid's with no mention of you. Your true friends know the truth.
Stay sane and do what you love.
Gary
P.S. Hi to Sue