I watch "Behind The Music" as much as anyone, and I think more than any other factor it's resulted in the rekindling of interest of so many once great past acts, even leading them to reform and recreate many years past their prime. I'm not suggesting that's the case here but even if it is, it says a lot about our modern day promotional outlets and let's
no longer spurn the twenty and thirty something's who actually have the money to spend.

Anyway, The Go-Go's are back here and they've got a lot to say as well. And I like what I'm hearing. Their classic "Beauty And The Beat" hits remain relevant today with such an advent of female-driven musical talent.

They were a pioneering all-girl group that struck a chord and reached the top with their light-hearted Rock
style and primped up Pop sweetness. They began life in a much grungier surrounding, cleaned up their act, became a marketable commodity and top 40 hits like "Our Lips Are Sealed," "We Got The Beat," and "Head Over
Heels" were born.

Fast forward some eighteen or twenty years later, they reform, do a couple one off gigs, and here we are with a new
record. Belinda's voice remains as sweet and sincere as always, she having the good fortune to rise to fame as a solo artist during the post Go-Go's era to really shine as a singer.

Here the original five are back and they brought the tunes with 'em, simple and straight guitar led Rock, edgy and smooth, and no ample evidence of old tune face lifting.

"La La Land," ("Hello world we're here again") and "Unforgiven" (featuring Billie Joe Armstrong from Greenday) are two strong opening statements that sound like the Go-Go's got a lot of ground to cover in a
short time. Point well taken, and proven.

On track 3, "Apology," Belinda's sensuous vocals shine through for this ballad which might be the next obvious pick for radio, ("Unforgiven" being first) while it precedes the edgier, "Stuck In My Car," and "Vision Of Nowness," which both feature catchy hooks and ascending vocal harmonies, the return of an original winning formula that could each pose a threat of their own.

They're grown up and far removed from the excessive extremes that made them and broke them, yet they're probably not ready to start performing show tunes on the Vegas strip either-good example: "Throw Me A Curve" says it all, on this super-charged sing along that loosely rivals modern day girl power groups like The Breeders or Lunachicks, while the reflective acoustic closing piece "Daisy Chain" recalls the shooting star that too quickly faded as it closes the newest chapter of the new era Go-Go girls. There's a vividness and maturity in the ranks that reflects in the music without altogether sacrificing their youthful appeal or almighty beat.

Released by Beyond Music

Review by Vinnie Apicella [va85@columbia.edu]
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