Hey kids ... what time is it ?

  THE PERFORMING NAME OF the Go-Go’s, here in the 2000’s, will nearly always be synonymous with the punk pop outfit comprising of Belinda Carlisle, Jane Weidlin and friends, and yet, prior to the formation of these punk princesses, the name of the Go-Go’s appeared twice, almost in simultaneous occurrence, albeit an ocean apart.

  During the bleak midwinter of 1964 a novelty recording, influenced by the UK televisual sci-fi success that was Dr Who, saw a Newcastle-based UK recording outfit, calling themselves The Go-Go’s, release a song entitled “I’m Gonna Spend My Christmas With A Dalek”.

“I’m gonna spend my Christmas with a Dalek,

And hug him under the mistletoe

And if he’s very nice, I’ll feed him sugar spice and hang Christmas stocking on his big left toe

And when we both get up on Christmas morning

And kiss him on his chrome implanted head

And take him in to say i demand, and frighten daddy out of his bed!”

  They clearly did spend time with the metal speed demons, for the single justifiably disappeared into obscurity, and the group were exterminated immediately afterwards. However, half a world away, on the beaches and along the golden coastal areas of Southern California something far more interesting was happening. A second unit, also recently naming themselves The Go-Go’s, released a full long-playing album, again based on a novelty that was sweeping the nation (although, it must be said, a novelty that had nowhere near the longevity of the walking, talking tin-can that was the dalek). This new fad, following on from the dozens of dance crazes that regularly blew through the US states like sagebrush through a Clint Eastwood movie (think: the slauson, the pony, the mashed potato, the watusi, the monkey), was for the ‘swim’, a oceanside dance that involved a lot of arm-waving but little foot movement bar the occasional step forward

(due, in no doubt, to the inability to move one’s lower regions in a successful manner whilst embedded in two inches of soft sand). The record executives, quick to realise the potential for a few quick megabucks based on yet another dance craze (again think: the twist, the locomotion) almost immediately herded a number of established and/or new acts into the studios to record, what they-believed, was another sure-fire money maker. The Lifeguards (“Swimtime USA”), The Wildcats (“The Swim”), Bobby Freeman (C’Mon And Swim” and “S.W.I.M.”), Bobby ‘Boris’ Pickett (“The Monster Swim”), The Marlins (“Everybody Do The Swim”) were but just a drop in the ocean but were all a fine example of how unsuccessful the fad was … for only the first Bobby Freeman swim title saw any significant glint of success and, unlike the twist and the locomotion, the swim was soon washed out to sea alongside all of the other unsuccessful and short-lived dances …

  Nevertheless, “Swim With The Go-Go’s” (RCA Victor LSP-2930 – produced by Al Schmit), the long-playing release from the California-based Go-Go’s, a trio of r’n’b, jazz and harmony influenced vocalists, has managed to maintain a relatively lengthy lifespan due in no doubt to its’ (albeit loose) connection with the surf and hot-roddin’ craze that continues to fascinate a hardcore following, forty-plus years later - and despite its initial lack of a chart placing in its homeland the record did receive a modicum of latter success in, of all places, Japan … which ultimately resulted in the formation of a trio of touring “Go-Go’s” (the original threesome proving unavailable for concert appearances out of the country).

  It was by no means a classic release of the genre, and reached nowhere near the recording or performing standards set by the similarly beach-laden vocals of the Wilson family, Jan & Dean, or a number of other surf-related releases, but it stands the test of time well. The harmonies are tight, the production is slick, the excitement and the feeling of the era, 45 years gone, is there … just about, and whilst a number of the featured tracks may now appear to suffer from a certain amount of naiveté or kitsch value (“Chicken Of The Sea” and “Peek-A-Boo Swimsuit” spring to mind), there are the occasional moments that can certainly be held on a par with the likes of “Hot Rod USA” or “Summer Means Sun” … and that is praise indeed.

But what makes this item perhaps more interesting that most is it's independence. It wasn’t just churned out by the label amongst a similar batch of non-events. Yes, it WAS just capitalising on a fad – but, unlike the endless series of cheap packages continuously rolled out by the likes of either Mercury

Wyncote or Crown Records, this release held an identity of its own, and perhaps that is why it still clings on admirably amongst the ‘surf crowd’ all these years later - because, in all truth, just because the “swim” could be done at the beach by bikini-clad honeys and rippling-bicep’d surfers, and a few lyrical connections were interspersed throughout, it’s quite clear that there was no real connection to the true surf 'sound' going on …

  However, following on from this release, the original line-up then cemented their ties to the sunshine crowd by venturing once more into the recording studios along Sunset Boulevard, this time with the established hot-roddin’ production team of Gary Usher and his seasoned cohorts for a further Go-Go’s record, a fuel-driven 45rpm release that equally went nowhere. Shortly before his untimely passing in 1990 Gary Usher went on record, in conversation with noted California music historian Stephen McParland, as saying:

  “Al Schmitt came to me sometime towards the end of 1964 looking for some songs for an act he was trying to break. I played him a few songs, he liked what I had and chose two. He then asked if I would come over and help out on the session. What I was trying to do with them was to change their sound and introduce them to something more contemporary. If you notice on the record, there is more movement. I remember sitting down at the piano and working the parts out. I know it took a long time to get them right, because they weren’t used to singing our style of harmonies. I was also singing on the background vocals, flat in spots as usual ! We cut it really fast. It really took off, but unfortunately not in the charts !”

  Nevertheless, brushing the lack of chart success aside, the Go-Go’s three-piece line-up was taken back into the studio again during 1964 by Decca Records, who this time utilised their vocal talents on yet another novelty album, this time one capitalising on the US TV delights of the popular horror-TV-sitcom that was The Munsters …

Swimming is frequently recommended as a swell way to get exercise. Usually, however, you have to get wet. And sometimes you get cold. Although many girls enjoy wearing bathing suits, they usually hate what swimming does to their hair. To cap it all off, swimmers sometime drown.

But now the problem is solved! Now you can get all the healthy advantages of swimming - with none of the disadvantages. You dance! Not any old dance - you dance the new terpsichorean craze, "The Swim."

Leading "Swimmers" explain the dance this way: "You do the twist with your hips and legs and do all sorts of swimming (or diving) motions with your hands."

They further explain that you can do a crawl stroke, back stroke, breat stroke, dog paddle or tread water. Obviously it's a free-style event.

Happily enough, an exciting new group has stepped forward to provide the music for this newest dance sensation. "The Go-Go's" are made up of three talented young men (all under 21) who have recently sprung to prominence on the West Coast. And all selections in this album are specially chosen to create waves amongst "Swimmers."

Note: You will be required to furnish your own lifeguards.

  And then what ? In fact, who were this trio of talented vocalists, destined perhaps to be more notably remembered for looking like stringless Gerry Anderson puppets on the sleeve of their one 'official' album, as they “swum” on the beach, near the distinctive pillars of Malibu pier ? And how actually involved were they with the Gary Usher sessions ?

  During late 2008/early 2009 I had the opportunity to talk to original member Jim Infield, now living in Germany, via the wonders of email, about the formation of the group, and how the album and sessions came about … and I thank Jim for his time, patience – and his wonderful recollections.

    And now, we ask, are we all ready for an ORIGINAL Go-Go’s revival ?

JIM INFIELD

  Jim Infield, born in Milwaukee, Wisconsin to a musical family, moved to Southern California in the early fifties. His musical interests started when he began singing in church choir and later High School choir. He was encouraged by his mother and her brother, Jim’s uncle, Gene Puerling, who, in 1952 started the Jazz vocal group “The Hi Lo’s” and later “The Singers Unlimited”.

MS: How did “The Go-Go’s” come together?

JI:  The Go-Go’s (1963/64) started, like so many groups, in High School. Through mutual friends with a common interest we formed a band, played popular R&B and rock tunes, performed at High School dances and later college gig’s at UCLA and Cal. State Northridge University. This was the pre-Beach Boys and Beatles period of early rock and roll, with tunes like “Bongo Rock”, Teen Beat, Fabian, Wolf-Man Jack on the radio and Sandy Nelson with his big hit on drums. As our high school years progressed I met Roger Yorke, who played guitar, and Chris English, and we formed a vocal group and did mostly Kingston Trio songs, and performed folk music at school assemblies.

After High School I proceeded to College where I studied music while keeping in touch with Roger during that period (circa 1963). About a year later I got a call from him, as he had been working with an R&B band formed by William (Bill) Wild. Roger said “Jim, Bill got a call from a friend who’s uncle is looking for a vocal group to do a Swim/Surf recording and we need a third voice, would you be interested?” Of course, that was a dream come true. We got together worked on some early Beach Boy and Hondells stuff and auditioned. Hal Winn & Joe Hooven listened to us and several weeks later we got the call and the rest is history. We signed contracts with Lester Sill who was representing RCA at the time.

MS: Did you regard yourself as a part of the so-called ‘surf scene’ ?

JI: That’s an interesting question. The teen years in Southern California were diversified to say the least. Social groups were the order of the day, Greasers, Jock’s, Surfers, Socialites ...

Personally, I was a ‘middle of the roader’ - sports, cars, jazz & classic music (my uncles influence) - but we also had a swimming pool at home. The big after-school gig on Friday was to head for a friends pool