This seemingly came out of nowhere as it appears to be SFTRI’s first new release in nearly a decade. It has also been 20-some-odd years since their How Many Bands Does It Take to Screw up a Blondie Tribute? This is somewhat of a companion disc to the Blondie tribute as it shares the same compiler (Travis Ramin) and cover artist (Aaron Marshall), along with some of the same musical participants. In typical SFTRI swashbuckling fashion, the disc has been somewhat of an elusive treasure as the silver ring has seemingly been stuck on a container ship outside the Port of Long Beach, resulting in backstock status throughout 2022.
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| How Many Bands Does It Take To Screw Up A Blondie Tribute? |
Like the aforementioned Blondie tribute album, the source material is so strong, it’s almost a foregone conclusion that this tribute album will be a successful one. Scanning the groups involved, reveals a beguiling mix of the Go-Go’s competitors and contemporaries from the late ‘70s & early ‘80s (Paul Collins, Nikki Corvette and Josie Cotton), some of the most compelling musicians associated with the best of the ‘90s (Fastbacks, Lisa Marr), famous in Japan acts from the last 20 years or so (Baby Shakes) and Japanese groups famous outside of Japan (the 5.6.7.8's).
SFTRI has a strong track record of bringing much needed attention to obscure, yet outstanding female-fronted and all-female bands with their many releases, tributes and compilations. Hearing how each act incorporates their own individual style within the vicinity of the distinctive sound and brash & bouncy energy of the Go-Go’s is the pull of this disc. There are some instant winners with the artists one already appreciates and then there are some unexpected pleasant surprises with a few previously unknown groups who share similar guitar-driven sensibilities. The only glaring omission was not seeing the inclusion of Peach Kelli Pop, who are one of the most Go-Go’s influenced bands going today. There are always many reasons behind these things. Perhaps they are waiting for a tribute to Redd Kross? Essential link between Blondie and the Bangles Over the decades, the Go-Go’s have become regarded as one of the key groups of the new wave movement and in a way a commendable cross-over act that connected the underground to the mainstream that one can still hear at wedding receptions and swimming pools or in short the essential link between Blondie and the Bangles. During the first five years of the '80s, they brought the changing sound of the San Fernando Valley, Hollywood and Los Angeles to the world. Along with the Plugz, the Plimsouls and Phil Seymour they played the Starwood and the Whiskey a Go Go. As things began to accelerate, they were off to the American heartland to open for the Pretenders before jetsetting with I.R.S./A&M labelmates the Police. With the hits, the foremost Southern California New Wave band became headliners and played everywhere from Palos Verdes High School to stages in Australia, Brazil, the UK, Japan and achieved international stardom in the process. (All this makes one wonder if they were ever considered to be included in the famous CHiPs’ “Battle of the Bands” episode as Charlotte Caffey’s father Thomas Caffey directed episodes of ChiPs?)
Their backgrounds were as distinctive and varied as the state of California itself. They ranged from the outsized appeal of Thousand Oaks’ favorite day-glo diva Belinda Carlisle to the Texan transplant Kathy Valentine, who brought an outsider perspective and hard-won wisdom from the Austin school of hard knocks. Gina was the girl from Baltimore who more than kept the beat, while Jane Wiedlin brought her Hollywood fashion school background to the foreground with a fair share of pixie dust. Further, Charlotte Caffey was seemingly a Golden State golden child from Glendale who radiated reserved cool and could do it all.
Worlds Away The Go-Go’s stirrings led to a ripple effect that eventually crested into momentous waves that continue to build, lift and launch these 24 acts from sea to shore. Fastbacks surge ahead with their version of “Vacation” and make it unmistakably their own with Kurt Bloch’s nose-dive metal flake fills leading up to the indelible and exultant chorus. Some may recall that cub covered “Vacation” on 1995’s Come Out, Come Out. Writing of cub, Lisa Marr’s astonishing rendition of “Worlds Away” is simultaneously the most monumental and spare song on this compilation. She found such a gem to interpret and completely transformed it with her austere treatment. I consider it my favorite single song of 2022 as it takes on a life of its own, while expressing the seemingly overwhelming concerns of the day-to-day with the underlying and universal yearning to be worlds away. In addition, Marr makes the ukulele sound avant again as her playing style verges on the exotic-making it sound more like a koto or zheng.
“Tonite” is a Mike Skill (The Romantics) and Nikki Corvette collaboration featuring the coiling, yet compressed and gleaming guitar tone. These vets come closest to approximating the economical playing and the incisive sounds insisted by producer Richard Gottehrer on the Beauty and the Beat sessions.
The splashy “Surfing and Spying” written by Charlotte Caffey is put into the capable hands of the 5.6.7.8’s. The Japanese trio blast out their surf punk guitar and make waves worthy of Charlotte Caffey, who joined the Go-Go’s after a stint with the Eyes. Songs like “Disneyland” indicated the Eyes’ own astute and askew take on the Southern California surfy punk sound.
This Town Baby Shakes reacquaint listeners with “This Town,” which has emerged as one the Go-Go’s finest songs. Besides marking a high point in their songwriting, “This Town” is also an example of the Go-Go’s undeniable ability to glean the decades like a thrifter with a trained eye. They were obviously and unabashedly spurred by the best early to mid-sixties pop rock, while also proudly wearing their prominent ‘70s power pop & punk influences on their tattered sleeves. Overall, they were not only in tune with their times, they helped shaped its direction by their awareness of the past and forward momentum.
I used to see the name of the Nutley Brass bandied about in ‘90s zines like Go Metric and I dismissed them as a novelty act without ever actually hearing them. They bring something new to the table with their recasting of “Head Over Heels,” which was the Go-Go’s final top 10 hit from spring of 1984. Nutley Brass’ something new is a touch of KPM Music with a Sting of the Mike Flowers Pops Orchestra. The Nutley Brass is a project of the talented Sam Elwitt who would go on to produce two excellent albums for Miriam Linna.
Presented with punch and supreme poppiness, “Can’t Stop the World” was the worthy flip of “We Got the Beat” on the IRS single. Kathy Valentine's declaration of determination lends itself well to reinterpretation by Go-Go’s contemporaries Holly & the Italians as well as being the fitting closing song and statement (like on the Beauty and the Beat album).
Fast Times at Ridgemount High soundtrack stars The Go-Go’s were an effervescent, upbeat, catchy and pivotal group who partly defined the early ‘80s. Success arrived for them because of their ability to absorb and encompass the overlapping musical and visual influences of several Southern California’s extant sub-cultures into an appealing, distinctive and unified identity of their own. Music videos helped them further render their spunky look to an inflection point, while VHS footage (Totally Go-Go’s) showcased their live excellence. In short, they were able to put the symmetrical in the asymmetrical and the power in the pop.
They had an intrinsic melodic sense that continues to give their songs perennial appeal. The quintet was also an eminently likable band, but unfortunately as an all-female band in the male-dominated music industry they were essentially regulated to second string status by the entrenched establishment. The Go-Go's eventually made their own way through years of self-imposed struggles, intragroup strife and industry resistance. Ultimately, their collective resolve took them all the way to the Rock & Roll Hall of Fame. More importantly, they have survived to succeed and influence successive generations through recent books, documentaries and their enduring songs. Their jolting and joyous energy is still breaking through.
