The GO
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The GO

Detroit, Michigan, United States

Detroit, Michigan, United States
Band Alternative Rock


This band has not uploaded any videos
This band has not uploaded any videos



"Real Detroit Weekly Album Review"

"The Go’s new record is a fantastic piece of plastic/vinyl. Tons of ‘60s-inspired pop in the vein of a Beach Boys, Beatles and T-Rex sandwich. The band has strong singles in “You Go Bangin’ On” and “Invisible Friends.” Singer Bobby Harlow’s production is picture perfect and John Krautner’s tunes are fantastic pop gems. "- EA
- Real Detroit Weekly

"The GO - Album Review"

“When it finally happens it'll go something like this: The Go will plunge a syringe full of gasoline into rock's draggin ass and peel outta Motor City at 100mph, leaving only a cloud of exhaust and the stench of burning rubber in its wake. It'll drive circles around the rock-is-back zombies and drive the White Stripes off the road with its Lamborghini-fast, peacock-confident Nuggets fare. It'll be one hell-bound gypsy cab, and you'll be sorry you didn't hitch a ride sooner.” Magnet - Magnet

"Launch Album Review"

"Pity the poor Go, whose timing was just a little bit off when they released their debut album, Whatcha Doin', way back in 1999. See, four years ago, the world simply wasn't ready for a retro-outfitted, greasy garage-rock band with a homebase of Detroit, the article "The" in its name, and a guy named Jack White playing a chinty, Sears-bought guitar. But it wouldn't be long before the zeitgeist caught up with the Go, when "The" bands like the Strokes, the Vines, and the Hives would have everyone obsessed with '60s riffs, '70s suit jackets, and, of course, Detroit's golden boy and the Go's aforementioned one-time guitarist, Jack White (who, in case you've been living in a Unabomber-style shack lately, has become an MTV superstar as the frontman of his own White Stripes and the on/off paramour of Hollywood screen-queen Renee Zellweger). Unfortunately for the Go, in the interim they lost their record deal, and now anyone hearing them for the first time on their self-released, self-titled sophomore album might mistake them for just another leather-clad gang of fringy-haired bandwagoneers. But hopefully The Go will give these Motor City underdogs the recognition they so deserve, for while Whatcha Doin' was a pretty bitchen slab of blue-collar Camaro rock, this second effort is a massive stylistic leap forward, a goatshead soup of Stonesy blooze, opium-den psychedelia, scraggly Southern rock, freakbeat mod grooves, glitter-rock sleaze, and Rick Springfieldian '80s powerpop that is markedly more mature and ambitious, yet still snotty and cocky in an endearingly Arthur Fonzarelli, brass-knuckled kinda way. And while Whatcha Doin' was perhaps the most lo-fi recording of the past five years outside of a random high school band's demo tape (the whole "production" sounded like it was recorded inside a tin can with a Radio Shack ghetto-blaster, a stack of 99-cent-store cassette tapes, and a Mr. Microphone--which admittedly was part of its ragged charm), The Go almost sounds like a downright professional, legitimate album, made in a proper studio with an actual producer and a bunch of equipment with cool blinking lights and buttons and knobs 'n' stuff. That's not to say that the album is at all slick, overly processed, or has had all its red-blooded rawness completely Matrix'd out of it--the Go have definitely maintained their no-frills, all-thrills approach here. But this is a record that would sound mighty awesome on the radio (particularly while cruising in a gas-guzzling red metal-flake convertible, or while making out in said convertible's pleather backseat), and that's where a band as flat-out rockin' as the Go deserves to be. Obviously these past four years have been well-spent. Now it's time for the world to catch up to this killer group once again. This time, let's hope people do not pass the Go." - Launch Music on Yahoo!

"Maxim Album Review"

"Never mind that Jack White used to be in this Detroit band - their second album is no White Stripes knockoff. Both bands dig into rock's past, but where the White Stripes chew on Zeppelin and all the bluesmen Zep pilfered from, the Go eat off a different plate. They feast on the Stones, the Kinks, Thin Lizzy, the Ramones, and even the Bay City Rollers. It's all about whom you steal from these days." Maxim - Maxim

"Entertainment Today Album Review"

“Times are tough, no one’’s hiring, and the money’’s running out. Before you pack your meager belongings into a beat-up old Volkswagen and start your cross-country road trip back to Mom and Dad’’s spare room, you’’d best pick out a solid set of CDs to spin during the long, bleak stretches of Nevada and Kansas that lie between here and there. At the top of the list, and no-question necessary to have handy on the passenger seat for the many, many times you’’ll want to spin it on the interstate, is the new record from Detroit’’s the Go. Straight-up rock ’’n’’ roll records don’’t get much more straight-up than this, and whatever town you’’re gonna end up in at the end of your trip, let’’s hope the Go swing through there on their next tour, because these songs are gonna smoke live.You like the Detroit rock, right? You’’re hip to the greats, from the Stooges all the way up to the White Stripes, and you love a good dirty guitar riff and snotty rock attitude as much as the next guy? Well, this is the disc for you. Sounding like every track was recorded in a different garage, The Go is as stunningly, narrowly eclectic as the Nuggets box set, from the heavy, snarling swagger of opener ““Capricorn”” to the Alice Cooper-inflected, fist-pumping closer ““I Got It.”” Guitarists Bob Harlow and Ken Tudrick aren’’t re-inventing anything here, but they’’re displaying a masterly facility with everything that’’s gone before them, and on the record’’s highlights they actually seem to have traveled backwards in time: twirl the treble knob and kill the bass, and the snottily political ““American Pig”” could be slotted right into the MC5’’s Back in the USA, while ““Summer’’s Gonna Be My Girl”” probably should have been issued on Elektra in 1968, with Bruce Botnick at the boards and Jim Morrison wondering how the Go beat him to the punch. Perhaps it’’s appropriate these days, as your bank balance limbos ever lower and you start thinking about heading back to where you came from, that rock music itself is moving back in with its parents and getting its bearings a little. Here’’s hoping your own attempts to find yourself turn out as satisfyingly as those of the Go." Entertainment Today - Entertainment Today

"CMJ Album Review"

"Replacing the cavernous, degenerate tone of [the band's] debut with an only slightly less cavernous sound topped with a heaping scoop of 70s glam rock, the quartet has left its genre constraints behind to become the best-sounding rock bar band of the new millennium. The Marc Bolan influence is practically tattooed on every track, especially "Games" and "Aint That Bad," but the best songs here also use straight pop ("Hardened Heart Blues") or punk ("Growd Up Wrong") to create a whole new old sound that'll probably be all the rage in 2007." CMJ - CMJ New Music First

"All Music Guide Album Review"

“Perhaps because it was released on the British Lizard King label, the Go's eponymous second album ranks as one of the more underappreciated records to come out of Detroit's post-White Stripes garage rock scene. Of course, Jack White has long since left the Go, but despite their lack of recording activity in the intervening years, they've evolved quite nicely, trading most of their debut's R&B inflections for a punchier, harder-rocking sound. Many of the songs on Go benefit from a glammy, T. Rex-derived stomp, which sits well alongside the other dominant influences: Iggy Pop, Exile on Main St.-era Rolling Stones, Nuggets-style garage and psych. A few songs come off as generic retro-garage, but on the whole, the band's songwriting has taken a major step forward, both in terms of melodicism and variety. The latter might be the album's greatest strength: there are minor pop gems ("Hardened Heart Blues," "Games," "He's Been Lying"), acoustic balladry ("Come Back"), hard-boiled, punked-out, quintessentially Detroit rockers ("American Pig," "Growd Up Wrong," "I Got It"), and tossed-off glam struts ("Ain't That Bad," "Blue Eyes Woman," "You Can Rock & Roll"), plus the bluesy, fuzzed-out groove of "Summer's Gonna Be My Girl," which falls in the great garage rock tradition of simple riffs and vamps built on as few chords as possible. True, their songwriting isn't quite as indelible as that of their erstwhile bandmate Jack White, who works from a much wider stylistic palette; the Go never move beyond their '60s and '70s fixations, which is why they don't quite transcend their niche in the manner of the White Stripes. Still, there's no reason to fault them for not reinventing the wheel; Go is a solid, nifty little rock & roll record that places its creators among the most accomplished bands of the Detroit renaissance." AMG - All Music Guide

"Creem Album Review"

"The vintage ambience of the Go's self-titled CD will make you wonder: is it 2003... or 1963? This record will make you think you've happened upon your beloved vinyl collection in the basement .... This Detroit band was slated to be this generation's answer to the Rolling Stones --- a dirty-rock ensemble leading the crusade against the mundane mass of ditties that have been flooding the airwaves for the past 30 years. For those who witnessed firsthand the rock age that threw furniture off hotel balconies and lived the clichéé of sex, drugs and rock 'n roll, this Go is just the album to send you into nostalgic overdrive. The Go is a reinvention of that past, giving it a lick of something profoundly current to reach not only those who have seen better days, but those who were simply born into the wrong era. ... With fourteen tracks of grungy decadence ranging from the Lynyrd Skynyrd-esque, acoustic driven "Come Back" to the album's greatest achievement, "Summer's Gonna Be My Girl", you'll feel as though you're kickin' it after a few kegs at a summer outdoor rock concert on the Suwanee at dusk." Creem Magazine - Creem

"Bang! Album Review"

“Like The Stones …… The Go dish out the kind of hot-wired honkytonk rock that’’s populated by girls with kitchen-sink names (““Hey Linda””) and bedroom eyes …… they take classic R’’n’’B grooves and slam them headlong into scuzzy guitar grime to make a sleaze-laden soundtrack of lunacy, lust and rock’’n’’roll” Bang! - Bang!


Capricorn 7"/CDS (Lizard King Records, 2002, LIZARD 001X)
Come Back (CDS only)
Hey Linda (CDS only)
Growd Up Wrong
American Pig 7" (Lizard King Records, 2003, LIZARD 004X)
Is It Good To Be Beautiful
Summer Gonna Be My Girl
You Go Bangin' On
Invisible Friends

Whatcha Doin' LP/CD (Subpop USA, 1999, SP 478)
recorded by Jim Diamond and produced by Matthew Smith
Meet Me At The Movies
Summer Sun Blues
Keep On Trash
Whatcha Doin'
But You Don't Know
Suzy Don't Leave
It Might Be Bad
Get You Off
Tired Of The Night
You Can Get High
On The Corner
Time For Noon
The Go CD (Lizard King Records, 2003, LIZARD 003)
Ain't That Bad
American Pig
Come Back
Blue Eyes Woman
Summer's Gonna Be My Girl
Hardened Heart Blues
You Can Rock & Roll
Hey Linda
Growd Up Wrong
He's Been Lying
I Got It
Howl on the Haunted Beat You Ride LP/CD (Cass Records, 2007)
You Go Bangin' On
Invisible Friends
So Long Johnny
Yer Stoned Italian Cowboy
Down A Spiral
Help You Out
Mercurial Girl
She's Prettiest When She Cries
Mary Ann



When I got the editorial gig at Creem in 1979, I had access to more than I should (in every dimension - it got pretty ugly after awhile), including Lester Bangs' home phone number. I called him, asked for some advice On Becoming a Rock Critic. He said, "If you love a band, tell everyone, spread the joy, and say why. You'll do everyone a favor if you do that."

Well, I'll take his advice here for the first time - I love The GO.

The GO have made the album they were destined to make. It's music like this that inspired them to pick up their instruments in the first place. They proudly wear their pop-hearts on their sleeves with this bubble-gum classic, and we're all the better for it. A few weeks ago Bobby Harlow sent me the new tracks, and when I put them on, I actually got goose bumps. This album is chock-full of gloriously lost influences meticulously crafted into a long-playing record, which is another lost form of influence. Download the entire thing into your iPod, play it, and I'm sure you'll agree.

The poet Ezra Pound said, Make It New.

Every so often, an artist, a band, manages to do just that. Like about once every 10 years.

The GO have elegantly turned this trick with the album you hold in your hands.

The GO crashed face-first into the Detroit garage scene a few albums ago with Whatcha Doin', which immediately catapulted them into the heart of the maw. Whatcha Doin' (Sub Pop) caught the public's attention as only a young band can -- a raucous collection of shoutalong garage jams, loose, daring, and charmingly arrogant -- a spirited, rowdy adventure.

They gigged all over the place, wrote one hundred and one songs which eventually took shape on a number of amazing albums: the psychedelic masterpiece Free Electricity (lost to obscurity thanks to their former record label), a collection of rough nuggets style sketches called Supercuts (limited edition vinyl release), and the eponymously titled fourth album THE GO (Lizard King).

I love the self-titled album because it was (to me and many others) simply the best straight-up rock'n'roll record in decades, not a dog on it. The rough edges were left hanging out, but it had all the hallmarks of great songwriting doused in the grooves to convince me that they have what it takes to go the distance.

The GO are in the process of inventing themselves.

I should mention that there are at least 50 GO songs, recorded top to bottom, deemed by the band, "too weird for general consumption." Just like the Beatles giving the Rolling Stones 'I Wanna Be Your Man', any one of The GO's throw-away tunes could be hits for somebody else. Easy. I've got copies to prove it. The GO are the underground darlings that most rock and roll fans may never even hear. While their buddy Jack White slams the gavel with every record he cranks out, The GO are deep down in the lab, alone, opening new pathways to creative music.

I wish I could have seen The GO with John Krautner and Jack White dueling it out on guitar -- it must have been wild. Wow, no kidding, you people who saw that configuration of The GO were really lucky. While that must have been great, as a fan, I'm thankful that The GO and Jack White parted ways, because instead of one great band, we are now blessed with two great bands, two sets of incredible songwriters whose styles are so dissimilar you have to wonder how they ever held it together for even a little while. Thanks for breaking up, guys, you've made me very happy.

What makes this album so different from the others?

Bobby Harlow produced and recorded Howl On The Haunted Beat You Ride. Take 4 bug-eyed misanthropes (Bobby Harlow, John Krautner, Marc Fellis and James McConnell) with an endless well of creativity, lock them up in a cellar together with 5 tape machines, and turn the controls over to the 1 guy that works 17 hours a day without lunch. Result: Every guitar tone, drum sound, vocal harmony, tambourine, piano, organ has been uniquely processed in a way that could even raise Brian Eno's eyebrow. Good luck finding another record like this one. It doesn't exist. The GO have created their own world: GO world.

It's a lot like Disneyland only you have to be 18 to get in.

The big kick in the ass comes every time The GO release a new album, because they are constantly changing, evolving, honing and re-inventing themselves in a way that isn't much different from Lou Reed, The Kinks or David Bowie. "Learn from the best, to hell with the rest" just might be The GO's motto.

I'm sitting in a hotel lobby in San Jose, Costa Rica, writing this on a house computer. I have a copy of Howl on the Haunted Beat You Ride playing over the computer's speakers. An English tourist in shorts, sandals and socks walks up and asks what I'm listening to. I tell him it's the new one from The GO. I give him the title and he says he's gonna buy it. A woman from Brazil asks the same thing. I tell her, and she says she really likes it and wants t