Get yer head outta that paper bag and pay attention because The Go harks back to the kind of slinky pop music that once was a hallmark of the late ’60s and early ’70s.
Building on a strong fuzz-tone foundation, it’s got an underlying scattershot style which encapsulates the swervy choogling guitar groove of Marc Bolan’s T. Rex (“Capricorn”); the playfulness of Nick Gilder’s Sweeney Todd (“Ain’t That Bad”); the intelligence of Ian Hunter’s Mott The Hoople (“Come Back”); the mischievousness of Todd Rundgren’s dual rack job Nazz (“I Got It”) and Runt (“Blue Eyes Woman”); not to mention a swampy riff wrap that sounds like Miami Morrison fronting Die Stooches (“Summer’s Gonna Be My Girl”).
Now for the bad news: The Go runs about 15 minutes too long (admittedly a value judgment) and suffers from a drastically uneven production job which fluctuates wildly all over the place (undeniably a fact).
Despite needing amputation, you can dance to this pop revelation because it’s all right. There’s more than a modicum of the Beach Boys, Knack, Paul Revere, the Archies and Rick Derringer to be found buried in the mix — not to mention who knows how many other obscure regional bands that’ve long since been forgotten.
Now if only someone would book these guys into a good recording studio and give them a lesson in Editing 101, their next album might very well end up being a full-sized power-pop contender instead of a 1/25th scale do-it-yourself Nuggets model kit.
And that’s nothing to sniff at.
E-mail Jeffrey Morgan at firstname.lastname@example.org.
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