DIAMONDS IN THE SHADE…THE LOST YEARS OF THE GO-GO’S EDITION

“Cool Jerk”
The Go-Go’s (1990)
#60 UK
Recommended source: Greatest

“The Whole World Lost Its Head”
The Go-Go’s (1994)
#108 Billboard
Recommended source: Return to the Valley of the Go-Go’s

“Good Girl”
The Go-Go’s (1994)
Did not make the charts
Recommended source: Return to the Valley of the Go-Go’s

“Beautiful”
The Go-Go’s (1994)
Album Track
Recommended source: Return to the Valley of the Go-Go’s

Weird.

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Every once in a while when I’m noodling around, doing nothing in particular, I think of something from days gone by and then, being now properly programmed by modernity, I naturally think again. What I tend to think the second time is “I wonder if it’s on YouTube?”

One of the things I still can’t believe is not on YouTube, no matter how often I’ve thought “surely it must be there by now,” is the Go-Go’s’ MTV video for “Turn to You,” the last great single of their original incarnation, which ended in 1984. One reason I keep hoping it will be there is so I can do a “Not Quite Random Favorites” edition titled “My Favorite Video” because nothing else comes within a thousand miles. (That’s the one where they played a band at a sock-hop…and their own dates. Maybe they really did need a break.)

Anyway, last night I went looking for it yet again and found it still wasn’t there. There’s a mini-doc on the making of “Turn to You”–of course there is–but not the actual video.

Story of my life and all that.

But, this time, clicking around, I started thinking of other things that should be there, none of which I ever thought to look for before.

By which I mean videos from “the lost years”….those years between 1984’s Talk Show and 2001’s God Bless the Go-Go’s, when they popped in and out a couple of times and did what they always did, which was be perfect.

Sometimes, what other people did with and to them wasn’t perfect. Whoever put the extra disco-fied ‘effects’ on this wasn’t perfect. But I’m sure it wasn’t their idea. They were barely paying attention to themselves or each other when this came out in 1990. But having the video finally makes sense of it (in a way its inclusion on their first greatest hits package didn’t). What’s clear hearing–and seeing–it now, at least to me, is that Belinda Carlisle had turned from a singer who was right for her band to a singer who could carry any band. I missed that at the time so a mea culpa is in order.

They were paying a little more attention when they got together and recorded three new songs of their own for 1994’s full-blown retrospective Return to the Valley of the Go-Go’s. Almost inconceivably, I had never even wondered if they made any videos attending that little project, so I went searching deeper and found this, for the lead single from the project….which isn’t much of a video (not nearly as good as “Cool Jerk,” let alone what they had done in their heyday) but is a fabulous record. Even if the faint tang of my disappointment in finally realizing that “Boston girls are getting down in bikinis” (a touch of poetry) was really “Muslim girls” (meh) remains, it’s failure to break out still serves as one of the Seven Signs of the Apocalypse…

…And it wasn’t even the best of the three sides they cut for Return.

This, for which they released a single but didn’t make a real video, was better, and has the new-and-improved Carlisle’s finest vocal…

..and I’m not even sure it was the best…depends on the mood I guess. It’s worth reading the quotes at the beginning of each song, but they won’t break any ties.

All in all, that should have been enough to re-start their career.

But it wasn’t.

God Bless the Go-Go’s came out a full seven years later and, instead of really promising more, its final track sealed the whole deal. Years of summer reunion gigs, Kathy Valentine’s departure, and one of those “farewell tours” (at least I think there was only one) formalized it.

But the end was right there in that final track, now commemorated in my favorite “homemade” video.

For some perspective, here’s a nice piece from Goldmine, circa 2011, before Valentine left the band, where, among other things, they debunk any notion that being an all-female band was actually some kind of advantage, post-punk. Turns out that, through no fault of their own, Fanny and the Runaways (both signed by big labels and given major publicity pushes in the decade prior) hadn’t so much blazed a trail as crapped the table.

I’m reading between the lines, of course.

Just more fuel for the argument I made at the time and have made ever since: they didn’t blaze all those trails because it was, as so many argued, “time” for an all-female band. They blazed all those trails because they were the Go-Go’s. It’s only in critical theory that the theories count. In the real world, it’s always the people who matter.

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(Belinda Carlisle, Charlotte Caffey, Gina Schock, Jane Wiedlin, Kathy Valentine)

A NICE HALF-CENTURY WITH MISS QUATRO (Found in the Connection: Rattling Loose End #69)

Since it’s sort of the principal running them of this blog, I like to think I’m up to speed on the contributions women made to the rock and roll era. But I confess I never knew Suzi Quatro was in a band (founded by her sister Patti) called the Pleasure Seekers.

In 1964 and ’65.

In Detroit.

Playing hard rock.

When Suzi was 14 and 15.

It doesn’t really matter if these records are very good (the band is okay, the singer is going places, but only when the world catches up to her). What matters is that, contemporaneous with the Supremes and the Shangri-Las, they were made at all.

Later on they were signed to Mercury in 1968.

So not only did Suzi beat the Runaways to the hard rock starting gate and ace out Jane Fonda for the definitive shag-haircut-of-the-century (knew all that)…

…she beat Fanny to a major label contract.

Maybe somebody else did, too. I’m always learning.

But it’s a pretty safe bet none of the others went on to sell fifty million records, last fifty years in the business, give interviews explaining how she got through a tough spot on an acting set by “imitating Joan Jett imitating me,” (ignore the title, it’s not a jab)….

and end up giving lessons on German TV demonstrating the links between natural hit-makers, Ludwig Van Beethoven and Abba.

Other than that, just another girl from Detroit.

MY MORE OR LESS FAVORITE ALBUMS BY ARTISTS WHO HAVE NEVER BEEN NOMINATED FOR THE ROCK AND ROLL HALL OF FAME (Volume Four: The Eighties)

Ross MacDonald once had Lew Archer say that as a man gets older, the women he’s interested in should get older too. For what it’s worth, the women in this little survey–the women of my own generation or the one right before it–have remained the women I’m interested in. Purely spiritually of course.

The early eighties, especially, were a breakout period for women in rock and roll that was unlike anything seen since the early-mid sixties. I’m sure the fact that music has been steadily shoved back to the sidelines in the generations since, assuring that such things happen no more, is purely coincidental.

I mention all this because it turned out well over half the records in this last installment were made by the women I’ve grown older with. Beyond that, I’ll let any obvious themes emerge on their own. This was fun.

Blue Angel (1980)

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The lead singer was a superstar in waiting. As one of rock’s last visionaries, she was ready here, her vocal style fully formed. The world would catch up a few years later. Through some combination of experience and nature Cyndi Lauper was already able to sing, “I’ll take it like a man,” and make the mighty Gene Pitney sound like a four-year-old, which, believe me, he wasn’t.

Pick to Click: “I’m Gonna Be Strong” (Television performance. Later on, she recorded another version for her first greatest hits package which actually got past this…but she’s the only one who could have.)

Warren Zevon Stand In the Fire (1980)

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Zevon rarely caught the reckless abandon of his lyrics in the studio. He captured it in spades here and sustained it for an album-long assault. He sounded like nothing so much as man who was raging against the dying of the light, like he already knew the ripped-and-torn seventies would be the last decade anyone ever missed.

Well, anyone who wasn’t part of the conspiracy anyway.

Pick to Click: “Jeannie Needs a Shooter” (alternate live take)

REO Speedwagon Hi Infidelity (1980)

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Everything anyone would ever need to know about the eighties in a sleazy album cover, a catchy title and a single genius line. The rest sounds real good to me, but, really, who cares what the rest sounds like?

Pick to Click: “Take It On the Run” (For those who may have forgotten, that’s the one that begins “Heard it from a friend who/Heard it from a friend who/Heard it from another you’ve been messin’ around.” Welcome to Hell.)

Robin Lane & the Chartbusters (1980) and Imitation Life (1981)

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At the time, pretty much everything written about Lane (L.A. born show-biz kid who became the leader of a Boston based punk band which ended up sounding fashionably New Wave on their albums) mentioned that she was an Evangelical or “born again” Christian. I only mention it here because nobody seemed to ever draw the logical conclusion about the black hole in her voice. Weird how the illuminati tend to forget (or is it ignore?) that a belief in God contains an inherent belief in the Devil.

Strictly on the formal side, there is an awful lot of what the Go-Go’s and, especially, the Bangles, got up to directly after.

If you want to know how good they had to be to make it, you could start by considering how good she had to be to not quite make it.

Picks to Click: “When Things Go Wrong” (Robin Lane…live) and “Send Me an Angel” (Imitation Life, sorry, couldn’t find “Pretty Mala”)

Rachel Sweet …And Then He Kissed Me (1981)

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Her major label debut and there’s some gloss on the basic concept, but she cut through it effortlessly. The commercial push was behind a duet with Rex Smith on the indestructible “Everlasting Love” which scraped the Top 40 and generated one of the great Devil’s Island videos.

But some idiot or other failed to see the potential in her greatest vocal and it was left for Pat Benetar to scoop and score with a just-fine version that wasn’t half as good. Two years later Sweet was out of the music business, yet another might-have-been. This was the best of her.

Pick to Click: “Shadows of the Night”

The Go-Go’s Beauty and the Beat (1981)

Go Go' Beauty and the Beat

On their way to cracking the code that had kept every female band from the International Sweethearts of Rhythm to the Runaways safely on the fringes, they made the rest of the New Wave bands sound like they weren’t trying. That was no particular shame on the New Wave, because the dirty little secret was that they made pretty much every pre-New Wave band sound like they weren’t trying either.

This took nine months to climb to number one on the Billboard Album Chart, at which point the general word was that we could expect a wave of highly successful all female bands.

Still waiting for that.

Pick to Click: “Can’t Stop the World”

Cyndi Lauper She’s So Unusual (1983)

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Hence the flood. One of a wave of mega-million sellers that made up rock and roll’s last gasp as a force that defined something more than itself. All of the others (Thriller, Born In the U.S.A., Purple Rain, Eliminator, Scarecrow, 1984, et al) were by well established acts who are in the Rock and Roll Hall of Fame long since.

Every one of them sure sounded like the present in 1984 and that’s exactly what they sound like now.

1984.

Despite a production style that’s as dated as any, Lauper still sounds like she’s singing about a future in which she would be the only one left standing. The future that is now.

It’s 2015 and there are individual cuts here and there on those other albums that sound great. This is the only one I still listen to at all…and I listen to it obsessively.

Pick to Click: “Money Changes Everything” (The album’s fifth hit single and probably the most radical recording to ever hit the Top 40 even before you take into consideration when it was released.)

The Bangles All Over the Place (1984)

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Honestly, I thought they sounded a little cold around the heart at the time. I was wrong. They were just coolly taking the world’s measure. As perfect a folk rock record as anyone’s ever made, up to and including Dylan and the Byrds.

Now, if only folk rock had still been a thing…

Pick to Click: “Silent Treatment”

Los Lobos How Will the Wolf Survive (1984)

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I mean, the rest of their career, at least as much as I’ve been able to keep up, suggests they’re archivists on some level, but this sounded like a deep well from the gut to me in its day and I’ve never stopped drinking from it. I forget it for a while, sure. But every time I pick it back up it sounds new again. I don’t need all my fingers and toes to count the albums I can say the same for. The album Donald Trump’s Republican rivals would be playing at every campaign stop if they had any brains (and, no, I have no idea if we should be glad that they don’t…I’m a pox on all their houses sort from way back).

Pick to Click: “Our Last Night” (live from 1987)

Minutemen Double Nickels on the Dime (1984)

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Revolt that had no chance whatsoever of coming into style. I bought it nearly thirty years ago and listened to it once, transfixed. I swear I’ll listen to it again some day. When I’m old enough to fully accept that it either is or isn’t what I hope it is.

Pick to Click? Er, no.

The Go-Go’s Talk Show (1984)

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Revolt going out of style. Those ugly, blocked lines separating them were more real than symbolic. They saved my life and then broke up. Can’t forgive, can’t forget. May write about it some day. Stay tuned.

Pick to Click: “Beneath the Blue Sky”

Todd Rundgren A Cappella (1985)

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A weird and compelling amalgamation of Brian Wilson’s brain, circa 1966, transmuted through Thom Bell’s melodic sensibility, circa 1973, and Daryl Hall’s larynx, circa 1977. Or something like that. This album could be an appropriate soundtrack for a teleconference on euthanasia, a street revolution, or a CIA sponsored convention on “Torture in the Third World, Effective or No?” Honestly, I don’t listen to it very often. But when I do, my mind ranges very far afield and I invariably end up with a slow, dreamy smile on my face which I’m convinced enhances my enigmatic appeal immensely.

Pick to Click: “Mighty Love” (unfathomable)

Katrina and the Waves (1985)

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I think it’s pretty obvious by now I like Power Pop a little more than the Rock and Roll Hall of Fame does. This isn’t one of those acts who are worthy of Hall consideration, of course, but it just goes to show how thin the line is, because it’s easy to imagine this perfect little album being a springboard to a lot more than one hit single. It’s also easy to imagine it never being even that. Mysteries of life I guess.

Pick to Click: “Going Down to LIverpool”

Cyndi Lauper True Colors (1986)

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Backlash was inevitable. She was too…something. The nasty comments about her audacity in covering the by-then sainted and martyred Marvin Gaye’s “What’s Goin’ On” obscured what she did with it, which was explode it from the inside, cast it into the future (This future, did I mention? The one where the wars never actually end? The one only the visionaries could see?) and segue it into “Iko, Iko.” That’s supposed to be what albums are for, especially if it sells seven million worldwide and all. Instead she got endless grief and a broken career which is now often deemed that of a mild underachiever because she only sold fifty million records.

Pick to Click: “Change of Heart”

Terence Trent D’Arby Introducing the Hardline According to Terence Trent D’Arby (1987)

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Sweep and scope like nobody’s business. Star in the making. Took a few years off. Made another album. Walked away. Never walked back. Maybe said all he had to say. Sure sign things were falling apart. Guy like this having no more to say.

Pick to Click: “If You Let Me Stay”

House of Schock (1988)

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Oh, I guess what I said here (with links worth pursuing).

Other Pick to Click: “Love In Return”

Neneh Cherry Raw Like Sushi (1988)

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There was a moment there when it seemed impossible that she wouldn’t be a major star. It didn’t happen, but this was a hip hop apotheosis and Madonna supposedly spent a whole lot of time obsessively breaking down a certain single…May as well close the eighties, and the series, with that particular mystery dance.

Pick to Click: “Buffalo Stance”