Song of the Day: 'Club Zero' by the Go-Go's

So here's the first new Go-Go's song in nearly 20 years, which was written for the closing credits of the new documentary about the band that also premieres today.

That they opted to record a new song is of note because as hardcore Go-Go's fans know, money was one of the biggest reasons the band first broke up. As the five members began receiving their royalty checks for their No. 1 album, "Beauty and the Beat," Kathy Valentine recounts in her memoir that it was obvious there was a hierarchy of wealth, with Charlotte Caffey and Jane Wiedlin way at the top, Valentine in the middle (having written "Can't Stop the World" by herself), Belinda Carlisle next (as co-writer of "Skidmarks on My Heart") and drummer Gina Schock at the bottom, only receiving mechanical royalties for playing on the songs. Gina was the most upset, arguing that “any of us” could have written the songs. Yet in the four decades that have come and gone since, another “This Town” or “Lust to Love” has never materialized from Caffey/Wiedlin much less Schock.

Although they tried to address the inequity on the second and especially third album, the damage had been done. (Their 2001 comeback album, "God Bless the Go-Go's," featured the most diverse writing lineup.) So with that in mind, here’s what Charlotte, Gina and "The Go-Go's" documentary director Alison Ellwood had to say about the new track. (Italics mine.)

For the documentary, the Go-Go's recorded “Club Zero,” their first new song in nearly 20 years. How was that experience like?

Caffey: When we decided we wanted to write an end credits song, it could be cool to all of a sudden have something new. I had just written this music with Anna Waronker and I've worked with her for years. That's what we wanted to write: “Let's do something really up and anthemic and punky and cool.” So here's this music and all of sudden I'm putting lyrics and I'm like, “Oh my God, this is f***ing working.” So I showed it to everybody, everyone loved it. Then we continued on and Kathy, Jane and I finished the lyrics. It's kind of this cool and right for this moment. We didn't even know what was coming when we wrote it like a year-and-a-half ago. We think it's just perfect for the documentary and for this moment right now.

Schock: We all worked on it, got together, went in to record it. We knocked it out in two days, which kind of amazed me because we haven't recorded in 20 years. We went into the studio and two days we were done, backing vocals and all, boom! Done! I was like kicking myself in the butt: “You know what? We really are pros.” I was amazed, no problems at all, and we went in there and kicked ass. Everybody's voice in this band is super important. Without the five of us, it's not the Go-Go's.

Ellwood: I had no idea that they were going to end up writing a new song. I had secretly hoped that they would try to do that. Then once I realized they actually were seriously doing it, I said: “Please let us film you playing around with it, it would be such a great ending for the film.” That's what we shot at the Whisky [in Los Angeles]. It was fun for them to come back to where it all began, once they were pretty big.

What do we think?

The song just popped up on YouTube and I notice Gina didn't receive a writing credit -- which I mention because of her combative track record, suing both Charlotte (over unpaid "We Got the Beat" royalties) and Debbi Peterson of the Bangles (over use of songs they wrote for their short-lived band Smashbox), stating that it’s “not her fault” that Debbi “can’t play her instrument.” (Ouch.) She also calls former House of Schock bandmate Vance DeGeneres (Ellen’s brother) a “total asshole.” Streaming doesn’t pay much, though, so maybe it’s not really an issue anymore.

 I'm excited for the new documentary but don't understand why they keep ragging on their episode of "Behind the Music." The whole point of that series was to tell us something we didn't already know -- to go BEHIND the music -- not to rehash their accomplishments. This time I hear the rare footage is what steals the show! 

UPDATE: 

The band has released a new video featuring clips from the documentary. 

Song of the Day: 'Ask Me No Questions' by Kindred Spirit

Have been down a bit of a Bangles rabbit hole recently -- well, more than I normally am -- and have wound up in the era of the gals' post-breakup endeavors. Everyone but Susanna Hoffs went the band route -- I remember Michael Steele's Crash Wisdom and that Vicki Peterson joined the Continental Drifters -- but it was sister Debbi whose adventures I was least familiar with. Turns out she briefly teamed up with fellow girl-band drummer exile Gina Schock to form a duo called Smashbox. In addition to the former Go-Go, the group also featured Sara Lee (Gang of Four, B-52's) and Wendy & Lisa of Prince fame. This lineup didn't last long and by 1991 the group was reduced to Peterson and Schock, who signed with IRS Records (original home of the Go-Go's) and renamed themselves Kindred Spirit. After recording some demos with producer Humberto Gatica, Schock decided to quit. (I haven't gotten too many details about what the friction was about, but I've been told Gina had nothing nice to say about Debbi on a recent podcast hosted by Abby Travis, who played with the Bangles after Michael Steele retired then All About Eved her way into the Go-Go's for a few years during the spat with Kathy Valentine.)

According to Wikipedia, Peterson looked for a replacement and found Siobhan Maher, who had just split with her group, the River City People. In late 1992 they released the single "Here in My Eyes" in Europe and went on tour as the opening act for Joan Armatrading. 

 Their self-titled album was set to be released in early 1993. The songs Peterson and Schock had written together were slated for the album, however Schock sued the group to "regain control of her material." 

The lengthy legal battle put the LP on hold and it wasn't until 1995 that it was released, preceded by the single "Ask Me No Questions."  The album, produced by Peterson and Maher, was a collection of acoustic and pop-rock songs. As with the Bangles, Peterson and Maher wrote their songs separately, singing lead vocals in their own songs and harmony vocals on one other's. The only song co-written by Schock included in the album was the single "Here in My Eyes," which Schock allowed as part of her favorable out-of-court settlement. The album bombed. And then other than one contribution in 1995 (a song called "Christmas Son") for a Christmas compilation album (that also featured Olivia Newton-John and Belinda Carlisle), the group never recorded again. IRS Records went bankrupt the following year and after unsuccessfully trying to land another record deal, the duo parted ways. (Siobhan Maher released a solo album in 2002, and Debbi Peterson rejoined the Bangles in 1999. She recorded a new version of "Ask Me No Questions" with the group in their 2003 album, "Doll Revolution.")

Question: If I didn't know about this, who did?

You'd be forgiven for thinking this was 1964 rather than 1994 ...

UPDATE:

Just listened to the podcast and my source was correct -- Gina does not mince words. She claims that it's "not her fault" if someone can't play their instrument, referring to Debbi -- who she describes as being a "good vocalist" --  and says the younger Peterson sister got upset that producer Humberto Gatica (of Michael Jackson "Bad" fame) picked more of Gina's songs for the proposed album than hers. ("The politics were f**king ridiculous. It was the first time I've ever walked away from something.” For her part, Abby claims that while she toured with the Bangles, they stopped allowing her to have a stagelight on her.) I have no reason to question Schock's feelings. But if she can play drums and Debbi can sing, wouldn't that be the perfect situation for two drummers in one band? Also: Schock has described her former House of Schock collaborator Vance DeGeneres as a "total asshole," formed various bands with Kathy Valentine -- including joining the Delphines -- and had an extremely short-lived band in the late '90s called K-Five, all of which didn't work out. So you have to ask yourself: What is the common denominator here? 

According to the BMI database, the songs Debbi and Gina wrote were: 

1. Here in My Eyes (released) 

2. Minutes Away Miles Apart 

3.  My World Your World 

4.  Can't Stop Falling 

5. Conversations 

6.  Hideaway 

7.  I Want Everything 

8. In the Real Time

The one thing the duo did successfully do is star in a I-can't-believe-this-actually-happened commercial for Slice cherry cola! 

UPDATE:

Gina discussed her "House of Schock" album on Jon Lamoreaux's "Deep Dive" podcast in March 2023. The conversation is a riot, but unfortunately she hadn't actually listened to the album in ages so most of the specifics were more generalities. But more to the point: Her attempted collaboration with Debbi Peterson briefly comes up and she has as much rage and venom now as she did 30 years ago. She didn't go into specifics, but she made it sound like they got along face to face but that perhaps things were said (by Debbi, I presume) behind her back that caused her to walk away, "the one and only time she says she's ever abandoned a project." Listen HERE.

Going to a Go-Go?

Go-Go’s fans were driving in risk upon seeing this photo dated today outside the Whisky on the Sunset Strip. A call to the venue informed me that there is no (public) performance tonight -- marquee be damned -- so I’m guessing there is some additional footage being shot for the upcoming documentary about the band. Can it possibly top their "Behind the Music"?!!!

UPDATE:

Kathy confirmed they are filming for the Showty doc.



#GoGosDoc

This town ...

Rehearsal ...

Birthday girl ...

Song of the Day: 'Automatic Rainy Day' by K-Five

I've written extensively about the various solo careers of the members of the Go-Go's. Yet it was news to me that Gina Schock -- who fronted House of Schock in the late '80s -- had another band in the late '90s. Here's a video of a rare performance of K-Five, as they were known, performing at the Opium Den in Hollywood. Of note is that the opening song is "Automatic Rainy Day," which the Go-Go's later recorded for their 2001 comeback album and later featured heavily in their Broadway show, "Head Over Heels." 

Anyone know who else was in K-Five or why they disbanded so quickly? 

The Go-Go's Are 'Head Over Heels' for Broadway

WE LOVE YOU!! 😍 #Repost @hohmusical ・・・ Legally speaking, could @OfficialGoGos adopt us?!?

A post shared by Go-Go's (@officialgogos) on Jul 25, 2018 at 5:41pm PDT

Great to see the Fab Five having fun together again! "Head Over Heels" officially opens at the Hudson Theatre tonight!

UPDATE: The reviews are in and a lot of them are raves!

TimeOut New York: Four out of five stars

Towleroad: New Go-Go's musical 'Head Over Heels' is a goddamn queer delight

The New Yorker: "Head Over Heels" is a trans-positive spin on a 16th century romance, with help from the Go-Go's 

The Village Voice: In “Head Over Heels,” Go-Go’s Hits and Elizabethan Drag Go Hand in Hand

The Daily Beast: The Go-Go's score a queer Broadway hit in 'Head Over Heels'

Classic Go-Go's Lineup Reunites to Celebrate Broadway-Bound 'Head Over Heels' Musical

They've got the beat: Kathy Valentine, Charlotte Caffey, Jane Wiedlin, Belinda Carlisle and Gina Schock

The world's head was a little less lost Monday night when Kathy Valentine reunited with the Go-Go's for a short concert at Bowery Ballroom to promote "Head Over Heels," the upcoming musical heading to Broadway featuring 17 of the band's songs. 

Broadway World describes the play this way:

An inspired mash-up of posh and punk, "Head Over Heels" is an unpredictable, Elizabethan romp about a royal family that must prevent an oracle's prophecy of doom. In order to save their beloved kingdom, the family embarks on an extravagant journey wrought with mistaken identities, jealous lovers, sexual awakening, scandal and self-discovery, where everything (and everyone) is not quite what it seems.

And Michael Riedel of the New York Post writes:

Insider buzz on “Head Over Heels” is strong. The show’s had a few workshops since it premiered at the Oregon Shakespeare Festival in 2015. It’s gotten better each time, sources say. It did hit a bump in the road when the original writer, Jeff Whitty, left the production. Whitty, who wrote the script to “Avenue Q,” is a talented writer. And at the Go-Go’s concert Monday night, people involved in the show told me much of his original script was “great fun” and “brilliantly theatrical.” But it was long. “Head Over Heels” ran three hours in Oregon, prompting one of the Go-Go’s to remark, “I love the Go-Go’s. I’m in the Go-Go’s. But I can’t take three hours of the Go-Go’s.” James Magruder stepped in to streamline the script, under the supervision of director Michael Mayer, who won the Tony for his terrific production of “Spring Awakening.” While “Head Over Heels” uses Go-Go’s music, it’s not the band’s story. The show is based on “Arcadia,” a 16th-century prose poem by Sir Philip Sidney, and is set in a magical land of dukes, oracles, lions, bears -- and more than a couple of cross-dressers. The cast includes Jeremy Kushnier, Taylor Iman Jones, Andrew Durand, Rachel York and Peppermint (of “RuPaul’s Drag Race” fame).

While it's no secret I'm not a big musical theater goer, I don't know that there was anyone more excited to be there than I was -- especially with this guy by my side. 

Damian's future's so bright ...

Legendary MTV veejay Mark Goodman spoke with director Michael Mayer -- who described the show as the perfect escapist antidote for today's troubled times -- before introducing the band.

And then out came the ladies ...

who launched into "Vacation," Kathy's classic written for her old band the Textones ...

followed by "How Much More," which Charlotte wrote with Jane ...

Andy Cohen and Sandra Bernhard -- (S)Andy -- were to my right, loving every minute of it ...

Was a little surprised that they then did "Mad About You," which was technically written (by replacement Go-Go Paula Jean Brown) for the band's first post-Jane album before ending up on Belinda's solo debut ...

Then came their cover classic, "Cool Jerk." Belinda really seemed to get into the song with Kath and her bad, bad bass ...

The play's title track was next -- a Caffey/Valentine collaboration ...

Followed by the one-two "Beauty and the Beat" punch of "Our Lips Are Sealed" (Wiedlin/Terry Hall)

... and "We Got the Beat” (Caffey).

Afterward we got to spend a little time with Kathy ...

And I confronted Mark Goodman about his missing trademark curly locks. (He hates them and gets his hair straightened these days!) 

Miss Guy -- my all-time favorite deejay -- did not disappoint ...

Then I bumped into Charlotte and showed her the photo I took of her when my friend Mark and I stalked the Go-Go's on their 1984 tour. She was so tickled she went running -- with my phone -- across the venue (with no warning) to show her posse, laughing and saying, "That was definitely 'Talk Show' hair!" 

It remains to be seen if "Head Over Heels: The Musical" is my cup of tea -- the music's obviously great and the cast is adorable, so that helps! -- but seeing these five women onstage again most definitely is. Here's hoping they continue to play together. We wouldn't want them to be rusty (or estranged) when the Rock and Roll Hall of Fame finally comes knocking. 

Info HERE.

Song of the Day: 'Love in Return' (demo) by House of Schock

Watch this 1988 interview HERE.

Saxed up demo of second single from House of Schock's little-heard (but rather charming) only album. (Her bandmate was none other than Ellen DeGeneres's brother, Vance.) This take would have fit perfectly on the "St. Elmo's Fire" soundtrack! 

UPDATE:

Gina discussed the album on Jon Lamoreaux's "Deep Dive" podcast in March 2023. The conversation is a riot, but unfortunately she hadn't actually listened to the album in ages so most of the specifics were more generalities. Listen HERE.

Song of the Day: 'Automatic Rainy Day' (demo) by Gina Schock

Snazzy demo of the Gina Schock-Steve Plunkett song that later appeared on "God Bless the Go-Go's" -- with a little help from Jane Wiedlin -- proving another House of Schock album would have been worthwhile. (No one else sings with that thick of a Baltimore accent!)

In Farewell, the Go-Go's Leave Skidmarks on Our Hearts

Via Belinda Carlisle's Instagram

The legendary Go-Go's played the final show of their so-called farewell tour Tuesday night at the Greek Theatre in Los Angeles, the city where it all began nearly four decades ago. Like many fans, I skipped this tour, and the previous ones that occurred after bassist Kathy Valentine was unilaterally dismissed in early 2013. While some have pointed out that I've never thought twice about seeing dozens of other bands that have had revolving band members -- Blondie, the Pretenders, Hole and the Beach Boys come to mind -- what made the Go-Go's wonderfully unique in the rock 'n' roll landscape is that they spent more than three decades together with their classic lineup intact, making them a very special exception to the rule. So while the Eagles and Van Halen were acting like "The Real Housewives of Beverly Hills," these five adult women were consummate professionals, never giving in to the stereotypes of women being other women's worst enemy. That all ended when Kathy Valentine broke her wrist and missed some touring dates. Not only did the four other women gang up on her in her absence to create an evil caricature that no one would want anything to do with, Kathy's hand-picked fill-in pulled an Eve Harrington, eventually usurping Kathy's place in the band. How they went from being the only group of women in music history to have written and played a No. 1 album to 50-something "Mean Girls" by way of "All About Eve" is one of the saddest and most disillusioning stories in rock 'n' roll history.

With the band now on permanent vacation, it was somewhat heartening to see that Kathy Valentine's attempt to reach out to her former bandmates was greeted with a kind response from Belinda Carlisle, who many think was merely the enforcer for one petty and vindictive singing telegram  ...

Next stop: The Rock and Roll Hall of Fame? A gay can dream!

UPDATE:

Mrs. Mason (and the other women invarious  interviews) continues to spread lies, trying to lead fans to believe there had to be "legitimate reasons" Kathy Valentine was ousted from the band. First we were told all would be laid out in the lawsuit, but that turned out to be a lot of gas. Now we're being told the Go-Go's can't discuss it because of "legal reasons." Note to world: "Confidential settlement" means you can't discuss how much was (or wasn't) paid to make a lawsuit go away. It DOES NOT mean you cannot discuss why you wanted to part ways with someone -- so fess up or shut up. Way to reinforce negative stereotypes about how "catty" women are to one another, ladies.

Song of the Day: 'The Go-Go's Are Riding on a Donut' by Del Guerrero

Del Guerrero writes:

The Go-Go's are not the same without Kathy on bass so, I wrote this song about it.

For those don't get the reference, a "donut" is a mini spare tire you use until you can the one you've blown back on the car, which about says it all.

FYI: Since everyone's a critic, the song is a silly little ditty, not a masterpiece.

With the Go-Go's on their farewell tour, many people have again been speculating that there had to be "more" to the story about Kathy's dismissal than has been revealed. Kathy posted this in response:

More on the now-settled lawsuit HERE.

House of Schock 

Kudos to Marc Hirsh of The Boston Globe for finally asking someone in the band about the split. Drummer Gina Schock was the lucky winner, but her answer (above) has left a bad taste in a lot of fans' mouths. Not only did Kathy play on the album and contribute a song  -- Gina wrote nothing -- she was just as involved in touring, doing radio promos, interviews, visiting distributors and all the other things the band did collectively to make the album a success. On top of all that, the Go-Go's themselves were the ones who have always said Kathy was the "final piece of the puzzle" that got them a record deal, so it seems more than a little disingenuous for Schock to act like it could have been anyone in that role. From my own point of view I will say that when I meet other Go-Go's fans, three-fourths of the time they single out  "Head Over Heels" or "Vacation" as their favorite song, both of which Kathy co-wrote. The non-Belinda members of the Go-Go's keep bending over backward to say that the band isn't breaking up after the "Farewell Tour," they're just "not touring" anymore. But anyone who knows anything about the Go-Go's knows all they are these days is a touring band, so clearly they're just saying that to save face because Belinda plans to continue doing what she wants as a solo artist and they just don't want to admit they have nothing else going on professionally. The Go-Go's are indeed riding on a donut, and because the missing tire has been irrevocably shredded, it makes sense to park the old car in the garage and begin campaigning for a spot in the Rock and Roll Hall of Fame, where all five women will be recognized for what they achieved as a group. It's a shame it's come to this, but sometimes you just have to accept that entertainers you admire aren't necessarily nice people. 

Song of the Day: 'Head Over Heels' by the Go-Go's

Get the remastered edition of "Talk Show" HERE.

This one's considered by many fans -- and Go-Go's -- to be the band's best song. My updated post about what Charlotte Caffey, Gina Schock, Belinda Carlisle, Jane Wiedlin and Kathy Valentine have done solo over the years got a lot of attention over the weekend. Check it out HERE.