Great review by Melodic Rock Concerts about the Wolftrap show … and fantastic photos of the Go-Go’s (by Matthew Becker).

Read review HERE.

To view more of these photos go HERE.

New interview with Charlotte and MLive.com

The Go-Go’s are back on the road, and this time the all-girl band is in celebration mode: It’s been 30 years since their groundbreaking “Beauty and the Beat” album was released. At the time, new wave on the rise and ladies like Blondie’s Deborah Harry, Romeo Void’s Deborah Iyall and the Waitresses’ Patty Donahue were at the forefront of the genre. The Go-Go’s became the first all-female band to top Billboard’s charts in 1981.
“We came totally organically…we didn’t have anyone putting us together, telling us what to wear. No one else had one that, as far as a group of women,” guitarist Charlotte Caffey, who co-wrote most of the songs on “Beat,” told MLive from their tour bus.

It’s been more than five years since the girls hit the road — and they’re making sure they stay there this go-round.

“It’s going well,” Caffey said about this tour. “But what happened last night is when Linda’s [lead singer Belinda Carlisle] voice got very strange. Belinda went to a voice doctor. But we’ve had enough canceling of tours. It’s actually going very well, really awesome. The audience has been great.”

The Go-Go’s, who play DTE Energy Theatre tonight with the B-52’s, will be playing all of their classics like “Vacation,” “Our Lips are Sealed” and, of course, “We Got the Beat.” They’re also adding a few album cuts they haven’t played in a while; Caffey was particularly excited about including “Lust to Love.”

“We haven’t played it in a long time, we’re doing the original version and the audience really loves it,” she said.

The Go-Go’s formed in 1978 in L.A. and started off playing small venues around town. Three decades later, they’re known as pioneers — something they’re still adjusting to.

“All I can say, being young people being in a band, writing songs that we felt were great…we never felt that years later we’d be selling out shows. We’re really loving it. It’s amazing,” Caffey said.

So, can we expect some new Go-Go’s material soon? Don’t count it out.

“We have spoken about that. We’ve started something….but our rehearsal schedule is really demanding. We weren’t able to work on the songs we wanted to.”

But, “you never know with this bunch. I know we all want to, but there’s never enough time.”

New interview w/Jane and Slug Magazine.

When Belinda Carlisle, Charlotte Caffey, Gina Shock, Kathy Valentine and Jane Wiedlin––collectively known as the Go-Go’s––announced their farewell Happily Ever After tour last summer, I was devastated for several reasons: the music world being deprived of a great collaborative and ground-breaking talent, the tragedy of knowing that I had actually never seen them live as a whole band before, and financial prospects of seeing their final tour live were all but a pipe dream. Unfortunately no one would be seeing them live as their tour was cancelled when disaster struck. Rhythm guitarist Jane Wiedlin had an accident and tore the anterior cruciate ligaments in both knees after falling off a cliff during a late night hike in the Corona Heights Park hills above San Francisco. The Go-Go’s sadly have never played Utah. I once traveled to Vegas (in September of 2002) to see them––twice––after their last studio recording, 2001’s God Bless The Go-Go’s, but sans a very pregnant Kathy Valentine, replaced by her BlueBonnet’s band mate Dominique Davalos on bass. While these shows were fun and energetic, they were not quite the same thing as seeing the original line up. As fate would have it, this spring, in conjunction with the thirtieth anniversary remastered rerelease of their classic debut, Beauty and the Beat, last year’s cancelled Happily Ever After tour has been gloriously rechristened as the Ladies Gone Wild tour with no signs of “retirement” in sight. I recently chatted with Jane about the tour and the anniversary of one of the finest and most legendary debuts in pop history. It was the first album completely written and performed by an all-female band to top the Billboard charts, where it remained for an astounding consecutive six-week reign. A feat, incidentally, never reached before or since.

SLUG: Hello Miss Jane Wiedlin! I know you’re a very busy person these days so thank you so much for granting SLUG this interview. The very first thing I’d like to ask you is how are your knees doing these days?
Jane Wiedlin: My knee is doing pretty well. I limp sometimes and it gets very stiff, but at least I’m walking!

SLUG: Beauty & The Beat really was a landmark on so many levels. I’d like to ask you about the process of recording that first album. Obviously you couldn’t have known about what legendary heights you were about to achieve with its release, but did any of you realize this was unique at the time of recording it?
JW: I had the bravado of naivete. I really thought we were going to become big rockstars and we did! Looking back, it seems like a miracle.

SLUG: The album, to me, never sounds dated, and while it and the band will forever be linked to the era it was released in (the ‘80s) it has always sounded unlike anything that came before it on radio. Even Vacation and Talk Show sound quite different to it. How would you assess B&TB’s uniquely specialized sound?
JW: I have never been a huge fan of the sound of that record, but I love the songs and the enthusiasm of the performances.

SLUG: Tell me about producers Richard Gottehrer and Rob Freeman. Was working with them something that was suggested to you or did I.R.S. Records [their original label] set this up? Did you guys have any say in the matter?
JW: I.R.S. set it up. We didn’t really know how to pick a producer, and Richard seemed like a good idea because of his experience with ‘60s girlgroup pop.

SLUG: Obviously the Stiff Records version of “We Got The Beat” and that great early version of “How Much More” sound dissimilar to the final album versions. I’ve read online that it was Gottehrer’s idea to slow your initial raw “punkier” sound down so the melodies could be heard. Is this true and was this a turning point during the recording process?
JW: Yes, Richard insisted we slow down our music a little bit. Having said that, after he mixed the record, we heard it and thought it was so slow we made him speed up the tape. Dumb idea!

SLUG: Was that hard for you as a songwriter? Did this also change the way that you approached writing songs?
JW: No, it wasn’t hard for me. I am not just a “punk songwriter.” I’m a writer, period!

SLUG: How long did it take to make this record? Can you remember what your initial advance was or the conditions? Since you recorded in New York and lived humbly, it can’t have been much, especially divided between the five of you. I.R.S. certainly made their money back, but how does that work for a band after something becomes a hit?
JW: Charlotte says the record took six weeks to make. She has a much better memory than me. We didn’t get an advance, we got a budget of $25,000 to make the record. It ended up costing $60,000 which seemed crazy expensive to us at the time because we were so poor! A record budget has to be repaid by the artist (us) to the label (I.R.S.) through record sales, so we didn’t start making money till we paid back the $60,000 and whatever other money the label fronted on our behalf.

SLUG: Do you remember how many songs were intended for B&TB that possibly didn’t make the cut? As a music fan, I’m always in awe of b-sides, and how some of them become favorite tracks by those I idolize, including you guys. “Speeding” especially is an all-time favorite, with “Good For Gone” coming in a close second. How do you choose b-sides?
JW: B-sides are normally a combination of songs left over that didn’t survive the culling process for the bum, and sometimes an attempt to even out publishing money, hence “Good For Gone” which was written by Gina and Kathy.

SLUG: With your upcoming tour and the re-release of B&TB, is there a chance that any of these gems will get toured? You guys often do “Surfing & Spying,” but I would be thrilled to hear some of these others live.
JW: With five people having opinions about what they are willing to perform live, the field gets narrow very quickly!

SLUG: Vacation––like many sophomore albums––seemed to be rushed out, arriving only a year after B&TB. Was there a lot of pressure from I.R.S. for a follow-up? I think the iconic imagery from this time period still holds up very well today. I know there was already turmoil in the band then, but were the video shoots (especially for the title track) as fun as you made it look?
JW: If I remember correctly, the label wanted to keep putting out more singles from B&TB and we refused, stating we didn’t want to “milk our fans.” That’s a more accurate reason why Vacation came out so quickly.

SLUG: I wanted to ask you about the aesthetic of actually hearing each individual’s contributions, especially musically, on your recordings. Besides Belinda’s vocals, you can really hear and identify Gina’s drumming, Kathy’s bass, Charlotte’s guitar and keys and your own rhythm guitar. It is quite powerful and almost seems like a novelty today, but was that a conscious decision on anyone’s part? Truly being one of the bands’ strengths, what would you say most influenced or influences this?
JW: Any well-mixed record will allow everyone’s musical contributions to be heard. It’s just common sense!

SLUG: Obviously all of you practice and worked your asses off in a sexist industry for many years before achieving major recognition for your efforts. You really were pioneers to so many female bands and artists that have followed. Do you think the industry has changed that much from when you first entered it?
JW: No, the industry hasn’t changed a lot. It has changed a little. I’d like to know where all the successful all-female bands are hiding!

SLUG: Speaking of the struggling industry, I’m thrilled that this re-issue is on both CD and vinyl. I think most of us that have been fans from this period probably have this on vinyl, but not the “hot pink” variety. Today’s download-only generation probably doesn’t realize the thrill of picking up an album and taking it all in as an “entire” package. As an artist, how do you feel about this digital age in regards to your music being distributed this way?
JW: I like how easy it is nowadays to purchase a favorite song, but I really miss shopping at record stores. When I was a teenager, I discovered many bands because I would go to the store and purchase albums based on the album artwork! That’s how I found Sparks.

SLUG: I am absolutely thrilled to be seeing you at the Fillmore in August and was over the moon about the VIP package. Having waited in vain many times to meet someone, this is such a great idea, especially for the fans. Would you agree with this? Is it difficult to give so much for a performance and then have to do the fan thing afterwards, especially when on the road?
JW: We do the meet and greets before we perform, and it is fun but very tiring. It’s like doing a wedding reception line every day where we are the bride and then doing a 90-minute aerobic workout afterwards (the actual concert)! But it is great to meet, close up, people who love us so much!

SLUG: Speaking of the Fillmore and your upcoming tour, I was elated when the “farewell” part from last summer’s cancelled tour was removed. Does this mean that there will be more new material at some point? Or even an album?
JW: It’s hard to say. I am interested in recording the odd track and putting it out on our website or through iTunes. This sounds more doable and less stressful than trying to make a whole album, when everyone is scattered around the globe.

SLUG: On a tour, is there any song or songs that you guys refuse to play or get tired of playing? I was wondering what has happened to good ole Turn To You as of late?
JW: Babe [Belinda Carlisle] doesn’t like “Turn To You” and if anyone really dislikes a song, we don’t perform it live.

SLUG: In regards to God Bless The Go-Go’s and its accompanying tour, were you surprised by the public’s reaction to it? Artistically, did you expect it to be more popular and did its relatively modest success hinder future recordings? Has this stopped you guys from making another album?
JW: I don’t think “the public” HAD a reaction because they didn’t know it was out there! Our record company/management (the same people) sucked at that time. Oh well!

SLUG: The reissued B&TB’s CD version has a bonus live disc from this time period which I’m quite excited about, but I was wondering if you have the desire to record an updated “live” album at some point? Do you record your shows?
JW: We do record our shows, not sure if I’d want to release one, though!

SLUG: As a songwriter, when you compose a new tune or even complete a song, do you know if it is a “Go-Go’s” tune or one to keep as a solo track? This makes me wonder if you can speculate on how many unreleased Go-Go’s tracks there are in existence?
JW: I only assume a song is a Go-Go’ s song if I write it with another Go-Go. Even then, it isn’t necessarily for the band. It takes a certain spirit.

SLUG: I’ll never forget saving and scraping money to buy Talk Show when it first came out on vinyl and the pretty purple-tinged translucent quality to it and package as a whole. Your artwork and media presentation was always and has continued to be fairly seamless. Did you guys have a say in the covers?
JW: Yes of course! The first album cover was Belinda’s idea. The God Bless artwork was my idea. We are very very hands-on when it comes to anything creative.

SLUG: You are still the most successful all-female band in history, and yet there still seems to be some sexism and prejudice towards you. Would you agree? As a fan I can’t help but be extremely frustrated by your recent rejection for the exhibit of Women Who Rock for the Rock & Roll Hall Of Fame. Do you think you have been properly acknowledged for your music?
JW: No, I do not believe we get our propers, but I hope someday we will.

SLUG: Lastly, are there any plans in the works to reissue the Vacation or Talk Show albums respectively this way, too?
JW: Not that I know of!

SLUG: Well, Jane Drano, it has been a sheer pleasure corresponding with you! Thank you for your time. I hope we can chat again about the plethora of solo things you have your talented hands in at another time. Best of luck with the B&TB reissue celebration, the band’s upcoming Hollywood Hall Of Fame Star, and especially the tour! I can’t wait to see (and meet) you guys in San Francisco in August!
JW: Thank you!!

The thirtieth anniversary remastered Beauty & The Beat is available now on double CD, in various download configurations and on hot pink vinyl. The Ladies Gone Wild tour continues this summer.

Click image for larger/readable image.

Thanks to Michelle for the scan!
For more great photos check our facebook page photo albums. We are updating the gallery there daily!! If you have any scans you’d like to share please e-mail them to us!!

NPR’s Rachel Martin interviews Belinda Carlisle and Jane Wiedlin of The Go-Go’s.

Listen to the interview HERE.

Photo by Irene Rojas.

Beauty and The Beat available HERE.

New interview with Charlotte and MLive.com

The Go-Go’s guitarist Charlotte Caffey is having a Sally Field moment as she recalls the last time the band played together, two and a half years ago, and the reception it received.

“Everywhere we go we’ve always had a great reception,” Caffey told The Flint Journal. “We always get baffled. People still like us. They really like us. I think the thing is we really have a great time playing on stage. I think that people really feel that. So I guess we put on a good show. We don’t have a lot of dancers. We don’t have all that stuff. We just have the music. That’s what we can offer everybody.”

The Go-Go’s, along with co-headliner The B-52s, will serve up relentlessly catchy pop tunes while playing DTE Energy Music Theatre on June 16. The two bands have played together on numerous occasions, so it acts as a reunion of sorts.

“Oh my God, we played with them about 10 years ago,” Caffey recalled about The B-52s. “It was some of the best shows ever. I really felt like the audience got their money’s worth because it was such a great pairing.

“We met them, I think it was 1979 at the Peppermint Lounge in New York. It was really long ago. I remember really well I was just staring at Cindy (Wilson) and Kate (Pierson), their outfits and their hairdos. It was like, ‘Oh my God. These girls are so cool.’ Fred (Schneider) is awesome. It’s really nice that we’re going to get some dates in with them.”

The tour, dubbed “Ladies Gone Wild,” celebrates the 30th anniversary of The Go-Go’s debut album “Beauty and the Beat,” which was re-released May 17 as a digitally remastered and expanded collection. The commemorative edition is available in a two-CD package and in two digital collections featuring the remastered original album plus exclusive, previously unreleased concert audio recordings from 1981. On the same date, the remastered original album was reissued on pink vinyl with replicated original artwork.

“Little did we know (as) little baby Go-Go’s that 30 years later we’d still be playing together,” Caffey said with a laugh. “It’s a real thrill for us.

Caffey — who is joined in the band by lead singer Belinda Carlisle, drummer Gina Schock, rhythm guitarist Jane Wiedlin and bassist Kathy Valentine — said she can’t believe it’s been 30 years since the release. But time goes by quickly.

“Boom and you’re like decades later,” she said. “It’s great. I just feel so lucky. I love these girls and we just have a blast together. We’ve had our ups and downs and right now we’re having a blast.”

Those downs include a premature announcement made in 2010 of a farewell tour that summer. But those July plans were derailed when Wiedlin tore her ACLs in both knees after falling while on a nighttime hike. That forced the quintet to rethink hanging up its instruments. Caffey said the band hasn’t been happier.

“It’s interesting how divine intervention happens,” she said. “Jane had her hiking accident and we re-evaluated everything and we were like, ‘No, no, no, no, no, no. This is silly.’ That was, I believe, divine intervention.”

The Go-Go’s, who may begin writing new songs, is considered one of the cornerstones of the new wave movement. Formed in 1978, The Go-Go’s made history as the first all-female band that wrote its own songs and played its own instruments to top the Billboard album charts. Caffey explained the thrill of being considered an influence by fellow female bands.

The band had a series of splits over the last three decades. However, maturity has led to the longevity of The Go-Go’s, said Caffey, the daughter of TV director Michael Caffey, who helmed such shows as “The New Adventures of Wonder Woman,” “CHiPs” and “The Dukes of Hazzard.”

“I do believe the music keeps us coming back. We really enjoy playing it,” she said. “And the fans. They’re going to get a great show. I think the older we get, the better we perform. We sound better than we ever have. It’s weird. I was listening to the recordings of when we played last and I thought, ‘God we really sound good.’ “

Go-Go Valentine romanticizes Hub

By Jed Gottlieb / Music / Boston Herald

A vacation is all they ever wanted, but it’s not what the Go-Go’s are getting. After guitarist Jane Wiedlin injured her knee last year, the band canceled a planned farewell tour. When Wiedlin, singer Belinda Carlisle, guitarist Charlotte Caffey, bassist Kathy Valentine and drummer Gina Schock regrouped earlier this year, they decided they didn’t want to retire after all.

Ahead of the band’s Thursday show at Bank of America Pavilion with the B-52’s, Valentine phoned to talk about Carlisle’s voice problems, tweeting her memoir 140 characters at a time, the new “Beauty and the Beat” reissue — with a bonus disc from an ’81 Boston Metro show — and keeping the band’s flame burning.

Herald: I saw the band had to cancel two shows because of problems with Belinda’s voice. Is everything OK?

Valentine: Yeah. These problems are kind of a drag, but there’s nothing the band can do about it. It’s not like she’s out partying late-night. It just happens. I’ve been following Duran Duran on Twitter and saw that Simon Le Bon had to cancel some shows. Adele canceled her tour. It happens, but she’ll be fine.

You’re a bit of a Twitter addict aren’t you?

I love Twitter. I’m a Twitter-oholic. To me Twitter is about not getting as many followers as you can, but about connecting with people. Some people bemoan the new age and how celebs, or pseudo celebs, have no mystique. But I like being known for who I am and not just what I’ve done.

But you’re taking it a bit further. You’ve created a separate Twitter account for your memoir. And you’ve been really unflinching while doing this, writing about rape, abortion and a home invasion.

It’s a format where I can be honest without being overly dramatic. As a songwriter, I’ve learned to be succinct and that’s what this takes. The idea came after Belinda’s book (“Lips Unsealed”), and the response was good so I kept with it. Now I’ve been contacted by literary agents and after this tour will try and see about getting it in book form.

The “Beauty and the Beat” reissue comes with a second disc from a show at the Metro in 1981. Do you remember anything about that show?

Sure, it was our first big show in Boston. We’d played the Rat and that was the first time I’d been to Boston. Then came the Metro, then the Garden. It was some rise. But I do remember that gig. Everything we did, it seemed amazing, if it never got better than that (show at the Metro) it would have been amazing.

After that rise and fall and now your latest return and reunion, can you see how important your band was with this hindsight?

Yes, like writing my memoir, I like being able to visit the past from this nice, safe place. I realize what a privilege it was and is to be in this band. Some bands were one-hit wonders, and that’s great, but our niche in history is something more. We were five women who did what no one else had done. There were times when I was embarrassed to be a Go-Go, when I thought it was a liability, when the only thing that kept me from quitting was that it was too irritating to think of another girl taking my place. But now I see how great it was and just what we did. I wouldn’t trade that. I don’t know what’s next but it’s nice to feel connected to the band going forward.