Get Up and Go was released by The Go-Go’s as the second single from their Vacation Lp, in 1982. It cracked the Billboard Top 100, ultimately peaking at #50.
Continuing our celebration of The Go-Go’s this weekend…
Congrats to The Go-Go’s on reaching Rock And Roll Hall Of Fame!
Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.
This was originally posted as part of a longer piece covering both pop music and comic book characters. It’s separated here for convenience.
In the early ’80s, I had a co-worker at McDonald’s of Brockport who called herself Ramona. It wasn’t her real name, but she wanted to be a punk, so Ramona became her preferred nom du bop. Ramona had an odd habit of walking up to me at work and giving me a kiss on the cheek. I don’t know if she was interested in me or just trying to see what reaction she could provoke, but since I reacted each time with the neutral equivalent of a shrug, nothing ever threatened to progress beyond those chaste little pecks. I already had a girlfriend, and I was serious about that.
Thinking back to my introduction to The Go-Go’s makes me think of Ramona, even though she had nothing whatsoever to do with me becoming a Go-Go’s fan. In fact, Ramona didn’t care for The Go-Go’s at all–The Go-Go’s image was nowhere near as hard-edged as the punk persona Ramona was trying to develop and project–but Ramona and The Go-Gos are still linked in my memory.
Oh, and my nickname at work was “Sid”–I was the only Sex Pistols fan anyone there had met circa 1981.
Like Ramona, I was a self-professed punk; unlike her, though, I was also an avowed pop fan, equally happy listening to The Clash or The Rubinoos. And The Go-Go’s’ chosen image–early ’60s girl-group filtered through new wave–was both welcome and already familiar to me. The Go-Go’s looked and sounded an awful lot like one of my late, lamented Syracuse Fave Raves, The Poptarts.
We’ve already covered The Poptarts in several previous installments of Boppin’ (Like The Hip Folks Do) (notably this Poptarts review and this interview with Poptarts guitarist Cathy VanPatten). In the late ’70s, The Poptarts created a working prototype for the approach The Go-Go’s would take to the Top Of The Pops in the early ’80s: a self-contained all-female quintet, dressed in bright colors, cute but not pandering or overtly sexy, playing mostly original tunes, influenced by pre-Beatles girl groups, but also by everyone from The Turtles to The Ramones. The Poptarts broke up in obscurity, undiscovered; The Go-Go’s had hit records (four Top 20 singles, and a # 1 album with their debut LP, Beauty And The Beat). I mourned (and still mourn) the lost opportunity of The Poptarts, but I still loved The Go-Go’s immediately.
I can’t recall the specific circumstances, but I’m certain the first Go-Go’s track I ever heard was some version of “We Got The Beat,” a version predating the hit version on Beauty And The Beat. A Buffalo FM-rock station called 97 Rock (which could be heard in Brockport) had a Sunday night program called Power Rock, devoted to tracks that were (in theory) edgier than the station’s usual AOR fare. I may have heard The Go’s-Go’s original Stiff Records single of “We Got The Beat” on Power Rock. I most definitely heard a live version of “We Got The Beat” on the soundtrack album Urgh! A Music War, a double-LP set that also included live tracks from The Fleshtones, XTC, Echo and the Bunnymen, The Cramps, and a host of other left-of-the-dial superstars (before “left of the dial” was even a thing). I played that Urgh record a lot, and “We Got The Beat” was my favorite among favorites.
bought Beauty And The Beat upon its release, and I also picked up the “Our Lips Are Sealed” 45, specifically to get its non-LP B-side (“Surfing And Spying,” a song The Go-Go’s wrote for The Ventures). “We Got The Beat” sounded different without the backing vocals (“they’re walkin’ in time”) I knew from Urgh and (maybe) the Stiff single, but I still adored it anyway. I developed a quick crush on bassist Kathy Valentine, and really fell hard for the music itself. This was such a terrific album, just loaded with unforgettable, hook-filled pop tunes and unconscious rock ‘n’ roll swagger; it was far and away my favorite album of 1981. (At least it was at the time; I didn’t discover Tell America by Fools Face or Drop Out With The Barracudas until a year or two later.)
And I was stunned that so few people seemed to agree with me. A writer in Circus magazine–and yeah, I shoulda known better than to read Circus–dismissed the absurd notion that The Go-Go’s could possibly be considered among the best of anything; granted, the writer was a fan of The Grateful Dead, so, y’know, to Hell with him. But everyone seemed to think The Go-Go’s were a novelty act. Ramona certainly didn’t see their appeal, as she sang along sarcastically when “Vacation,” the title tune from their second album, came on the radio at our company picnic in ’82. Ah, silly Carl and his pop music….
Screw it. I was long, long used to being outside the mainstream–even the alternative mainstream–so why should things change now? I’d been a fan of The Monkees in the ’70s and early ’80s, and I’d already learned not to back down from my convictions. I’d put up my Bay City Rollers poster in my dorm, right alongside my Sex Pistols, and KISS, and Suzi Quatro (and, um, Suzanne Somers in a swimsuit) as an act of defiance; I’d argued with a Deadhead on behalf of Shaun Cassidy; I’d preached the virtues of The Ramones while everyone wanted to listen to The Eagles. I knew I was right about all of these (with the possible exception of Suzanne Somers). And I knew I was right about The Go-Go’s.
“We Got The Beat” and “Vacation” have remained among my all-time favorite tracks ever since their release. I do still prefer the Stiff single version of the former, but any version’s great. The Go-Go’s did one more album–1984’s Talk Show–before splitting, acrimoniously. They’ve reunited on several subsequent occasions, usually just for live appearances, but they did a very nice new album called God Bless The Go-Go’s in 2001. There was yet another acrimonious split a few years ago–my girl Kathy Valentine wound up suing her former co-workers, and the remaining four did a farewell tour with a ringer on bass–but the five ’em recently reunited for a show in New York, announcing the upcoming Broadway premiere of the new play Head Over Heels, which features the music of The Go-Go’s. I regret I never had a chance to see The Go-Go’s live.
I haven’t seen or heard from Ramona in over thirty-five years. In spite of her repeated kisses on my cheek, and her stated interest in collaborating with me to start a new, arty girlie mag she wanted to call McErotica, I still don’t think she had any physical designs on li’l ol’ me. I think she saw me as a friendly foil, someone to bounce off of and riff with about stuff she thought would be too cool for the crowd. She hated The Bongos; I loved The Bongos. We both liked The B-52’s. And she wanted to keep that dynamic going, even though I was technically one of her bosses. Each time her lips brushed the side of my face, she wasn’t making a pass, but reminding me that You could never push me around, Mr. Boss-Man, sir; I wore the tie, and she wore the uniform, but we were both just young punks, and I’d best not forget that. The last time I saw her, we were both on a bus heading out of town; she was going out for a night at a Rochester punk club, and my girlfriend and I were leaving Brockport for good, intent on starting a new life in Buffalo. We exchanged greetings, but didn’t speak otherwise.
After all that, our lips were sealed.
Boppin’ Like The Hip Folks Do by Carl Cafarelli
As we all know, our online accounts require us to establish security questions, personal inquiries presumed to be sufficiently arcane that only we know our own secret answers. Each of the following security questions is accompanied by an answer that is technically true for me, at least on some level. They’re not the answers I’d use for any account, mind you, but they are real answers.
Birth. Really my Mom’s surgery, sure, but I was there. (True story: Mom fell and broke her leg while she was pregnant with your beloved future blogger. Which probably explains a lot.)
MAKE OF FIRST CAR
December 16th, 1976 at the Onondaga County War Memorial, with Uriah Heep opening. I wouldn’t get my first KISS record until the following June, when my sister gave me the Rock And Roll Over LP as a high school graduation gift.
WHERE YOU MET YOUR SIGNIFICANT OTHER
Oh, I just met lovely wife Brenda at a Mexican restaurant in North Syracuse for dinner after work on Tuesday night.
FIRST AIRPLANE TRIP
Started in one airport, ended in a different airport.
Ron Glass. He was also the only actor to play the character of Book on the TV series Firefly and the subsequent movie Serenity.
FAVORITE TV SHOW
Radiovision by default; it’s the only TV show I ever did, co-hosted with my future This Is Rock ‘n’ Roll Radio partner Dana Bonn. You can read the story here, and even see the damned thing here. We also appeared as guests on local ABC affiliate talk show Bridge Street, I participated in some public access cable talk shows in high school, and I used to be interviewed at work every summer by TV reporters doing stories about people suddenly rushing to buy air conditioners when it’s hot–imagine that! But Radiovision remains my only TV show.
The late John Wicks. Great talent, and a hell of a nice guy.
“Movie” is an odd phrase to use in reference to fans of the fab ’60s British group The Move, but we’ll go with it. And it’s a four-way tie for my favorite Movie, as Gary Frenay, Paul Armstrong, Arty Lenin, and Tommy Allen–collectively, The Flashcubes–recorded Sportin’ Wood, a tribute album to The Move’s main man Roy Wood. Hello Suzie!
FAVORITE SPORTS TEAM
That answer’s evolved, but when I was a kid, we’d have to change the spelling a bit for the correct answer: I loved Teem soda. And I drank it at MacArthur Stadium while ignoring baseball games, so y’know, sports.
Later on, my favorite football team would be Huxley.
Nah, with a few exceptions, I was never much for Musician. I was more of a Phonograph Record Magazine, Bomp!, Trouser Press, Goldmine, and CREEM guy. Among others!
NAME OF YOUR BEST FRIEND IN SCHOOL
In grade school? Batman. In middle school? WOLF-AM.
NAME OF FIRST PET
Sharon Bailey, May 1972. Took surreptitious glances at the smoke shop in White-Modell department store. Was smitten. Weird that no one ever asks “Name of first Playmate?”
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Fans of pop music will want to check out Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio, a new pop compilation benefiting SPARK! Syracuse, the home of This Is Rock ‘n’ Roll Radio with Dana & Carl. TIR’N’RR Allstars–Steve Stoeckel, Bruce Gordon, Joel Tinnel, Stacy Carson, Eytan Mirsky, Teresa Cowles, Dan Pavelich, Irene Peña, Keith Klingensmith, and Rich Firestone–offer a fantastic new version of The Kinks’ classic “Waterloo Sunset.” That’s supplemented by eleven more tracks (plus a hidden bonus track), including previously-unreleased gems from The Click Beetles, Eytan Mirsky, Pop Co-Op, Irene Peña, Michael Slawter (covering The Posies), and The Anderson Council (covering XTC), a new remix of “Infinite Soul” by The Grip Weeds, and familiar TIRnRR Fave Raves by Vegas With Randolph, Gretchen’s Wheel, The Armoires, and Pacific Soul Ltd. Oh, and that mystery bonus track? It’s exquisite. You need this. You’re buying it from Futureman.
Get MORE Carl! Check out the fourth and latest issue of the mighty Big Stir magazine at bigstirrecords.com/magazine
Hey, Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 100 essays (and then some) about 100 tracks, plus two bonus instrumentals, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).
THE GO-GO’S: Beauty And The Beat
The Go-Go’s do not get anywhere near the level of respect they deserve. A self-contained rockin’ pop combo that wrote nearly all of their own material, The Go-Go’s scored hits in the early ’80s, and released three fantastic albums before splintering in the acrimony that claims many a great group. They’ve reunited a few times since then for concerts and additional fine recordings. They should have been a shoo-in for induction into The Rock And Roll Hall Of Fame years ago. They have never even been nominated.
Their debut album Beauty And The Beat was my favorite new album in 1981. Nearly four decades later, I remain as fond of it now as I was then. It is very nearly a perfect album, with the cold-sounding, dispassionate new wave number “Automatic” the only track I don’t like. The rest? “How Much More,” “Lust To Love,” “Skidmarks On My Heart,” “This Town,” “Fading Fast,” “You Can’t Walk In Your Sleep (If You Can’t Sleep),” “Can’t Stop The World,” and “Tonight” are all engaging as hell. The first single “Our Lips Are Sealed” was one of the two best things on the radio in ’81; the other best thing on the radio that year was also by The Go-Go’s, also from Beauty And The Beat, and it was their signature tune “We Got The Beat,” a magnificent single that earns its own entry in my book The Greatest Record Ever Made! (Volume 1). Gotta respect The Go-Go’s.
HERMAN’S HERMITS: Hold On!
Although I did indeed see Herman’s Hermits in their 1966 movie Hold On! when it was still in theaters, let’s forget about that. And believe me, it’s an easy movie to forget. Instead, let’s move ahead by a decade and change, to when I was an 18-year-old college freshman in 1978. That’s when I scored a truly beat-up copy of the Hold On! soundtrack LP, a record that was a lot more interesting than the cinematic trifle that spawned it.
One may be tempted to likewise dismiss the album as a trifle, but it was at least an interesting trifle; I loved some of it, and I wasn’t much put off by the rest. If I could take or leave (mostly leave) “The George And Dragon,” “Leaning On A Lamp Post,” and Shelley Fabares‘ “Make Me Happy” (which skipped on my copy anyway), I had more enthusiasm for “Hold On!,” “Wild Love,” “All The Things I Do For You Baby,” and “Gotta Get Away.” My biggest go-to tracks on Hold On! were “Got A Feeling,” “Where Were You When I Need You” (which I heard and loved here before discovering that it had later been a hit for The Grass Roots), and “A Must To Avoid.” “A Must To Avoid” quickly became my favorite Herman’s Hermits (at least until I heard “No Milk Today”). My local heroes The Flashcubes used to cover “A Must To Avoid” in their live sets, and that was okay by me.
The sharp-eyed among you will notice some scribbling near the photos on my LP cover. The Herman-less Hermits played a bar called The Gin Mill in Liverpool, NY that very same summer of ’78, and you’re damned right I was there. The Hermits put on a swell show, after which I solicited autographs from bassist Karl Green, guitarist Derek Leckenby, and drummer Barry Whitwam, plus guitarist Frank Renshaw, who had replaced Keith Hopwood in Hermitdom. I saw original Herman’s Hermits lead singer Peter Noone on several subsequent occasions, including one show with his fab early ’80s new wave group The Tremblers, but have never had an opportunity to get him to add his signature alongside those of his erstwhile co-workers.
THE KINKS: The Great Lost Kinks Album
About a year before The Who‘s vault-raidin’ 1974 compilation Odds And Sods, The Kinks‘ by-then-former American label Reprise issued The Great Lost Kinks Album, a collection of 1966-1970 recordings that The Kinks would have preferred to leave as lost. Gentlemen, start your lawyers!
I associate this album with The Vinyl Jungle, a small and short-lived record shop in my college town of Brockport in the fall of ’77. I remember seeing the album for sale at The Vinyl Jungle, but I passed on it and instead bought a Kinks compilation called The Pye History Of British Pop Music. I didn’t get my copy of The Great Lost Kinks Album until many years later, when I was considering (and finally deciding against) writing a book about the 500 definitive albums of the ’70s. This LP wouldn’t have been among the records discussed in That Great Lost Carl Book, but I scooped it up at the same time I was grabbing cheap-cheap-cheap vinyl by Lynyrd Skynyrd, Foghat, ZZ Top, et al. for research. Far out, dude. The Great Lost Kinks Album was of much more interest to me anyway, and I especially fell for “This Man He Weeps Tonight.” All of its once-rare tracks are now readily available, the lawyers all paid and satisfied.
THE RUTLES: The Rutles
My introduction to the fictional Prefab Four The Rutles came when Eric Idle of Monty Python’s Flying Circus hosted Saturday Night Live (then still called NBC’s Saturday Night) in October of 1976, when I was a high school senior. Idle played a clip of his faux Beatles mugging through “I Must Be In Love,” and I was hooked. When The Rutles’ TV special All You Need Is Cash appeared in March of 1978, I was all in. I reveled in the promo clip of “Ouch!” that was shown on Midnight Special the week before All You Need Is Cash, and was one of several floormates crammed into the dorm room across from mine to watch the TV special itself when it aired.
Alas, I was the only one among my group who dug it.
Undeterred, I bought the 45 of “I Must Be In Love”/”Doubleback Alley,” and gratefully accepted a gift of the companion album The Rutles, brought home from England by my sister Denise. Number one, number one…!
VARIOUS ARTISTS: The Motown Sound Vol. 6
My very first Motown record? Could be, though my lovely wife Brenda thinks this was her LP rather than mine. If only we’d kept better track of stuff prior to the matrimonial merging of our collections. Either way, I do remember that we picked it up on a visit to the weekly flea market at Syracuse’s Regional Market, probably in 1979. It would have been around the same time (if not the same weekend) that Brenda snagged her flea-market copy of The Kinks’ Greatest Hits!, and/or when I got my 35-cent copy of The Who’s Meaty Beaty Big And Bouncy. We were frugal shoppers. In spite of many, many cullings of the collection over the years, all three of these LPs still remain in our vinyl library.
And it certainly could have been either one of us who grabbed this Motown sampler. Brenda had grown up listening to soul and R & B on the radio, and this would have been a natural thing to add to her personal stash. I was just beginning to appreciate how great all that stuff was, and would have been drawn to my favorite Supremes song “Stop! In The Name Of Love,” my favorite Four Tops song “It’s The Same Old Song,” and my favorite Stevie Wonder song “Uptight (Everything’s Alright),” and probably to The Miracles‘ “Going To A Go Go.” The rest would have been a history lesson waiting to happen. So: Brenda’s record? My record?
Our record now.
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This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.
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Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 155 essays about 155 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).