(2020) Music Documentary (Eagle Rock) Belinda Carlisle, Charlotte Caffey, Jane Wiedlin, Gina Schock, Kathy Valentine, Margot Olaverra, Ginger Canzoneri, Elissa Bello, Pleasant Gehman, Miles Copeland, Kathleen Hanna, Sting, Terry Hall, Lee Thompson, Lynval Golding, Chris Connelly, Dave Robinson, Paula Jean Brown, Richard Gottehrer, Stuart Copeland, Jann Wenner, Martha Quinn. Directed by Alison Ellwood
What the hell is wrong with the Rock and Roll Hall of Fame? More to the point, why aren’t the Go-Go’s in it?
This is a band that has never truly been taken seriously. Even at the height of their fame, they were written off by critics as a lightweight pop band, conveniently ignoring the fact that they were trailblazers. They didn’t have a Svengali behind them as the Runaways, who have received far more props from the critical community. They achieved their success on their own. Maybe it’s because they flamed out so quickly, but there are bands in the Hall that have had shorter careers than they.
The Go-Go’s emerged from the L.A. punk scene that gave us bands like X, Motels, The Germs, and the Minutemen, among others. Jane Wiedlin, the manic pixie dreamgirl guitarist for the band, talks candidly of her own depression which led to a suicide attempt at 15; she was rescued by a punk scene that empowered her and inspired her to join a band with vocalist Belinda Carlisle.
The nascent group were more enthusiastic than accomplished. Early footage of them shows a band that can barely play their instruments, but even though their music is very different than what it would eventually become, that pop sheen can still clearly be heard. They eventually added guitarist Charlotte Caffey who turned out to be a talented songwriter who gave them their first hit single, “We Got the Beat,” inspired by a viewing of Rod Serling’s Twilight Zone.
They became better, growing a following. They added a new drummer, Gina Schock, who turned out to be a world-class skin-pounder. And then when original bassist Margot Olaverra, who resisted the band’s shift from pure punk to a more pop-oriented sound, became ill, they recruited former Textones guitarist Kathy Valentine to take her spot. Valentine, who had never played bass before at the time, recalls learning the entire set of her new band in a two-day cocaine-fueled binge.
An early milestone was an invitation to tour England as an opening act for the Specials and Madness, two ska revival bands who the Go-Go’s opened for in L.A. It turned out to be a difficult tour; the Go-Go’s didn’t play ska music and often got booed off the stage, or spat upon by white nationalists who were fans of the ska movement (which is kind of ironic, when you think of it; most of the ska bands at the time were integrated and the music itself was based on music from Jamaica). It did get them attention enough from Stiff Records, the influential English independent label which then released “We Got the Beat” as a single. During the tour, Wiedlin became romantically involved with Specials frontman Terry Hall and the two wrote another song that would become a signature of the band: “Our Lips are Sealed.”
Miles Copeland, manager of The Police, signed the band to his fledgling IRS Records label who released their debut album, Beauty and the Beat. Jet-propelled by the two singles, it rose to number one on the charts and established the group as a major hitmaker. From there, they got on the rock and roll treadmill of touring, making a new album, touring, rinse, repeat.
Like other bands in the industry, the group was beset by the usual problems; squabbles about royalty payments, drug use (Caffey hid a burgeoning heroin addiction from the band, even as she continued to write the majority of their hits), Even as the Go-Go’s were becoming one of the biggest acts in rock and roll, the seeds of their implosion were planted; they fired their longtime manager Ginger Canzoneri for a more corporate management team, and eventually Wiedlin left the band. They replaced her briefly with Paula Jean Brown, but the chemistry of the band had already been affected. Six months after Wiedlin left the band, the rest of the group called it a day.
Ellwood has assembled a pretty standard rockumentary with plenty of interviews. The band is remarkably candid about their own foibles with the exception of Carlisle who while forthcoming about her own drug habit in the past, doesn’t mention it here and only obliquely refers to the role her own ego played in the schisms that ultimately broke the band apart. Ellwood does a good job of capturing the bond that still exists between the band (as the documentary was being completed, the band recorded their first material together in nearly two decades). She’s less successful at offering context of how the band was affected by their era – and how they affected succeeding eras. Only Bikini Kill’s outspoken Kathleen Hanna really remarks on the influence the band had on female musicians that came afterwards.
It’s hard to understand why this band hasn’t gotten the credit that is due them. Their music was never outwardly political or topical and thus became timeless; they sang about love and lust and loneliness; the things we all relate to. They did it with a relentlessly cheerful beat and irresistible pop hooks. There is skill involved in all of that but the band ended up being marginalized by everyone except their fans.
Nobody really took them seriously back then, a head-scratching attitude that continues to this day. There is the fact that they are all very attractive women and there is a tendency to look at attractive women as incompetents who get by on their looks rather than talent. It could be the mere fact that they are women, but when I think back to the recent documentaries on Joan Jett and Hanna, women whose music was more aggressive than that of the Go-Go’s, and the critical reception to both of those who hailed the subjects of those films as innovators and trailblazers. Well, so were the Go-Go’s but even now I don’t see the same type of acclaim being accorded them. Perhaps a more strident documentary was needed to maybe force people to listen. This band deserves better. They always have.
REASONS TO SEE: Puts the spotlight on a group that never really got its due.
REASONS TO AVOID: More or less a standard rock doc.
FAMILY VALUES: There are some drug references, profanity and some adult themes.
TRIVIAL PURSUIT: The Go-Go’s were the first (and to date, only) all-female group to play their own instruments and write their own songs to have a number one album on the Billboard charts.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fubo, Google Play, Showtime, YouTube.
CRITICAL MASS: As of 2/7/2021: Rotten Tomatoes: 98% positive reviews; Metacritic: 81/100.
COMPARISON SHOPPING: Bad Reputation
FINAL RATING: 6.5/10
NEXT: Little Fish