by Benjy Eisen

The Go-Go’s
God Bless The Go-Go’s


Perhaps the landscape is different but the oomph of rock n’ roll remains the same as it did when the Go-Go’s first got up and went in the early-’80s with their brand-defining hit, “We Got The Beat.” Back then, the Go-Go’s were, if not breaking ground, certainly key players in a number of musical chairs. They helped usher in the new wave pop of an early-’80s underground America and retained membership in the California punk scene and redefined the boundaries of just how far an all-girl group could go. They were the Spice Girls with actual spice. They wrote their own music, played their own instruments, and trashed their own hotel rooms. And you know what? They were good. Not great, but good. They knew that rock music should have balls to it and that they could deliver it in high heels. Belinda Carlisle’s dreamlike vocals softened the corners of the boxy power chord punch being thrown down by her three lovely bandmates. It was rocky, it was poppy, you could sing along, you could dance, and it came straight out of the ethos of punk.

Twenty years later it still works. The Go-Go’s didn’t make the mistake of trying to synch up to the new millennium; instead they’ve arrived as is. And it couldn’t have come at a better time. Starting off appropriately with a chorus of “Hello, world, we’re here again,” God Bless The Go-Go’s is playful, light hearted, and catchy as hell. Even the break-up songs are more girls-night-out than woe-is-me (“Do you even realize that you’re such a drag?”is just one lyric) and the rockers, as promised, rock out.

The girls enlisted the help of Green Day’s Billie Joe Armstrong and Susanna Hoffs (The Bangles) for a respective track each, but the disc is at its best when it’s The Go-Go’s by themselves, being themselves. After calling it quits and reforming several times over the past two decades, The Go-Go’s have returned as grown up women playing music their daughters would be envious of. And, in doing so, they remind us that rock is still real, and still all about oomph.

God Bless The Go-Go’s? I certainly hope so. (Beyond)

Colonel Les Claypool’s 
Fearless Flying Frog Brigade
Live Frogs Set I


Primus’ Les Claypool has always been into extracurricular activities but when he assembled what was supposed to be a one-time-only supergroup called Oysterhead, he had no idea of the consequences.

Oysterhead featured Phish’s Trey Anastasio with ex-Police drummer Stewart Copeland and was created originally for one show at New Orleans’ Jazz and Heritage Festival last year. Afterwards, Claypool confessed that he had been getting bored with music and this new discovery — namely, jam rock — had him excited to play again. He put Primus on indefinite hiatus and assembled a new group in hopes of being able to stretch out, improvisationally. The result is Colonel Les Claypool’s Fearless Flying Frog Brigade.

Borrowing jam veterans Jay Lane (drums) and Jeff Chimenti (keyboards) from Bob Weir’s Ratdog, Claypool found newcomer Eenor (guitar) through a classified want ad. He added long-estranged original Primus guitarist Todd Huth and avant-garde saxophonist Skerik (Galactic) to complete the line-up. The band, clearly, was configured with one goal in mind — jamming.

Out of a two night stand at San Francisco’s Great American Music Hall comes Live Frogs Set I (with a second set forth coming).

The disc starts out with a 14-minute cover of King Crimson’s “Thela Hun Ginjeet” and ends with a 12-minute cover of Pink Floyd’s “Shine On You Crazy Diamond.” In between is, well, a lot of jamming. Claypool opens up the catalog of his various side-projects, pulling out tunes from both Sausage and Holy Mackerel. Interestingly, there are no original Frog Brigade tunes. The originality is in making each of the songs their own. As could be expected, Claypool owns most of the jams with his patented bass wizardry. While it sounds at all points like signature Les Claypool, given the breathing room of improvisation, Live Frogs showcases Claypool as a true visionary of the bass guitar. He’s careful though to share the spotlight, giving it over one by one to each of his band mates, all of whom Claypool claims “excel at their instrument to the point of extreme.” This is true. The Frog Brigade has become an instant live attraction in the jam band world. Live Frogs Set I is a perfect indication why. (Prawn Song Records)