"Right Here" is the first recording by The Go-Betweens that includes Amanda Brown. In the liner notes for the band's compilation album, 1978-1990, McLennan writes that the song is about two friends of his, who worked in a funeral parlour and the constant exposure to the chemicals used in the preparation of the bodies turned them into addicts. Stating "I thought this would be a good subject to write about in a pop song." The song's title is derived from the chorus of Forster's song "You've Never Lived". Forster had a different interpretation of McLennan's lyrics, describing it as, "a declaration of love. Amanda had been won and he was proud." "Right Here", together with the second single, "Cut It Out", were both recorded with producer Craig Leon in London in late December 1986. Lindy Morrison said, "He was chosen to make this single accessible to the people, to get us to crawl out of our cult corner. No, of course it wasn't successful. It's never successful. I don't know why the record company bothers." The B-Sides were then recorded in the second week of January 1987, with producer Richard Preston. Steve Miller and Simon Fisher Turner contributing guitar and backing vocals to "When People Are Dead". The lyrics for were contributed by an Irish fan of the band, Marion Stout. The songs were then mixed on 11 January and cut the next day. A promotional video was made for the single, directed by Nick Small. The video prominently features McLennan and Brown. The cover for the single was from a painting by McLennan.
Critical reception
Kristi Coulter at Allmusic believes that "it's one of the bestlove songs in the Go-Betweens' not-inconsiderable catalog of them" and "The melody is one of Grant McLennan's most memorable and the lyrics among his most heartfelt." She goes on to state that ""Right Here" is that rarest of things, a love song that promises rescue while also strongly hinting that its subject take some responsibility for herself." In his review of Tallulah, at Allmusic, Thom Jurek describes the song as "multi-tracked violins drive the center of the tune sprightly, in an off-rail, cut-time tempo. Robert Vickers' colorful keyboards and Morrison's programming are truly adornments, but McLennan's soulful yet philosophical vocal anchors the tune on bedrock and is supported by a beautiful chorus of backing vocals led by Brown." Record Mirror said, "It borders precariously on the twee side, only just saving itself courtesy of Grant MacLennan's nasal passages, his vocals adding a certain sarcastic sneer."
