If you haven't heard The GO yet, I envy you. I can remember hearing the pulsating, bone-rasping opening riff on their Sub-Pop debut "Whatcha Doin'" like it was yesterday. It's one of those classic moments in the life of a music fan. Like what was it was like the first time you ever heard the Velvet Underground, Iggy & The Stooges, Thin Lizzy, Black Flag, Dead Kennedys... You felt plugged in to something beautiful. Something all yours but shared at the same time. For a repeat of this moment, you continue the search for that next best band you've never heard. You go downtown, risking ear, lung and liver damage for something great. You flip through your friend's collection between sips of beer, asking, "Who's this?" That's what is waiting for you. In fact, if you haven't heard these fellows yet, leave your chair. Find some money, buy and listen. This interview will still be here when you get back.

The Go are from Detroit Michigan. The "garage" capitol of North America, apparently. Don't let that fool you, though. These guys are a world away from the White Stripes, Pirahnas, Clone Defects, etc. Not that these The GO is above and beyond the aforementioned, mind you. They're just a world away. They've got their own thing going on. That is all. They were taken under Sub-Pop's wing, hyped, and subsequently dropped when they turned in an uncompromising follow-up album titled "Free Electricity." Now, they have a new self-titled album out now in Europe via Lizard King Records. If you can't wait for the US release, go to www.thego.info and download the free MP3s. "Summer's Gonna Be My Girl," is a favorite of mine.

Bobby Harlow, the guy who's gritty bari-tenor voice stains the soundscape of The GO, was kind enough to explain some things to The Odyssey. Enough of my rambling. On with the show.

The last time I heard you were recording anything was before your departure from Sub Pop. The last time I read anything about The GO was an interview in Horizontal Action (ed. note: I think). I thought you had broken up until I saw that you were doing dates with the Greenhornes. Then I stopped by Scratch Records in Vancouver and stumble across the Capricorn/Growd Up Wrong 45. What’s been going on all this time?
There have been some changes in the band. This is a living body of work. People come and go, record labels do their job and we continue to write. It doesn't matter. I'm sweating, it's hot and I'm aggravated. We've toured the US several times. There's a constant struggle to [live] and write rather than obey by somebody else's standard of quality music. In the last several months/years we've been obsessing over the last record we'll ever make. That's where it ends up; to write an album so that we can giggle while we suck each other's dicks for good. Nothing can get in the way of that process... therefore, we expect resistance from those who have preconceived notions of what it is that we ought to be doing. They are band-mates. They are business men. We are lost in perpetual contemplation of an infinite glory... hopeless. It's a bit tragic really, but at least it's [our] chosen tragedy, it's grim. I love it.

Tell me about the new album on Lizard King. Is it all newly written material? Did any of it appear, in any way, shape or form, on your unreleased album?
No. There are a couple of songs that were written while we were under Subpop's arrest, but mainly new stuff. We've recorded everything that we've ever written onto a 4-track machine as example. Usually the tapes that we make together at home are much more compelling than those in a "proper" studio. What we've done with this new album is record it in London and return home to lay it on a cassette tape, finish it, and send it off in that state of lesser quality fidelity. The original recording from London was more refined... boring. So, we had to intervene and destroy the pristine craft by littering it with crude atmosphere. Whatever it takes. In retrospect, we should have buried the tapes in the dirt and then pissed on them... dug them up and pressed a million copies of bleached vinyl in God's care... divine vile vinyl.

I hope you don’t take offense at this, because I mean it as a compliment. It seems like you’ve stepped back in the time machine a couple of years for your latest material. What I’ve heard from the new album sounds noticeably less modern than your debut. It might be the cover, but I thought the Capricorn 45 sounded a bit like the soundtrack to some long-lost 70s biker movie. I thought it even had a bit of Davie Allan sound running through it. You’ve got much more of a classic sound now. Do you care to talk a bit about where your sound is headed?
You can't offend me. That is, unless you tell me that you've slept with my girlfriend... and she was the worst lay you've ever had. Then I'd have to ignore you forever. Anyway, I don't mind that at all. They're songs. We record music, simple really. Whatever it may be. We're never too concerned whether it comes off like a throw-back to another era where we don't belong. I don't think in those terms, forget it... it's all retro, new wave, punk, no wave, garage, blue grass, country, bubble-gum bullshit. Lately, I've been interested in something that poses a question rather than bold cliche statements about getting down into a woman's underwear, I mean, eventually that's where I'd like to end up in the night... but, until I settle in, there ought to be a lot of arguing and howling at the moon, wilds and horrors coming into focus for the attraction to a careless lifestyle. But anyway... I have absolutely no regard for modern music. I believe that we make music new. I write new songs everyday. They are crap. Ferlinghetti would smother me in my sleep, given the opportunity I'm sure. On the flip side, sometimes people come to me and tell me that my songs are wonderful. Once in a great while I'll listen to one of my own songs and feel good about it... sorry and detached, or romantic for the meaning and memory of it's intention. I can't tell where it's going... I'm glad that you've asked. I'll put more thought into it maybe. It's not headed down the tubes, I know that. After all, we do have a responsibility here. We can't possibly just fuck off all day long until we turn 90 and die without a clue... can we? JESUS, I'd better get on that right away! We will make your album for you... this one could be fantastic... I think it's the next... I could be wrong... perhaps never. I'm curious. I think I'm going to die without a clue. I'm still waiting for some angel to glide down to me and whisper in my ear... soft, tenderly... trembling hush... rush of blood to my electric senses... her pale breast at my cheek rests... delicate touch... her ethereal essence and cool breath in my imagination... YOU SICK FUCK, COCAINE IS NOT A CREATIVE DRUG!!!!!!! My God, what have I done with my life? Before you ascend back to heaven will you please take your top off? I'm a monster. I need visuals.

Who is Lizard King Records? It looks like you’re their first signing. How’d you get hooked up with them?
"This is a boring question. They are English. They've given us total creative control. We are responsible for our own actions. You have to ask, I understand. You know the answer. They like us and we like them, simple really. I prefer Lizard King to my own family... good people. Actually, they are deviants. I love them. A good, healthy lot of engaging bastards. I wish that I was in London right now.

Lizard King is a UK label, and naturally, you’ve got a lot of British press. Do you have a pretty big following in the UK?
Not yet, I don't know. It's difficult to say. Is there an audience when we play? Yes. Many people? No. Odd things happen. A woman handed me a telephone one night while we were in between songs on stage. I said hello, and there was an Australian telling me that we ought to travel there soon. Hmm. We're never in the right place at the right time. As for London, it's not exactly what I had expected but I'm not disappointed. And we're never alone in England, fine women, strong stock... can take a lot of abuse. That's nice. I sound barbaric. Perhaps I'll wear a helmet on stage from now on. Actually, they abuse me. That's nice too.

Do you know when we can expect a US release of your latest album? How about a US tour?
We will release the album in August or September. We're playing a few shows with friends 'The Mooney Suzuki' in July. We hope to tour extensively with a band called 'The Witnesses' who we all have a great deal of respect for. If I can twist Ian's arm enough... hopefully we'll run around with 'The Scene Creamers'.

Earlier I brought up your unreleased album, the follow-up to Whatcha Doin’. I read somewhere that Sub Pop canned it. I’ve talked to a guy that managed to score a tape of the record, who can only tell me that it’s “way different.” Can you tell me a little bit about what it sounds like? Do you think it will ever see the light of day?
Different. I suppose. It's way too hot here to get into this. James (guitar player) just turned the fan around so that we may feel a breeze, unlikely. He's recovering from a spinal tap... no bullshit. His fluid is low and he has a headache... we've decided to split his medication. Go down with the ship, I say. You're referring to an album called "Free Electricity". We will release everything that we've ever recorded in the coming year. That will include an album's worth of home recordings, "Free Electricity", several 7" singles of back catalogue, and an EP of the unreleased sessions with Jack White. All of this and more. The year of 'The GO' ought to be freakish.

Really? Will that all be on Lizard King or will it be distributed around on some other labels? Any special plans for the packaging or formats?
I can't say right at this moment. Maybe I'm a liar. We'd like to release a million albums at once... but I'd gladly settle for one really coherent record. All will be revealed in time. Cryptic. Har, har.

Did that album cause the end of your relationship with Sub Pop, or was it just a contractual thing?
That was it. "Free Electricity" was the end of a short run. We are impossible to work with if a label wants to "guide" us. We don't want to listen to anybody, ever. Don't get me wrong, I take everybody's opinion into consideration but that doesn't mean just anybody can have a say in what we do [creatively]. We didn't belong there. It was a mistake, but they were able to introduce us to our audience. We'll always be indebted to them for that. I believe that they have good intentions. They're alright.

It's interesting that Sub Pop tried to "guide" you. I'm guessing that it was because Free Electricity was deemed too much of a leap from "Whatcha Doin'". Did you know that they are currently reissuing "Microminiature Love" by the Michael Yonkers Band? It was originally shelved by Sire in the 60s. Supposedly for not being commercial enough.
We'll, I hope that "Free Electricity" turns up soon. I'd hate to introduce it 30 years from now and get the blues for my youth. I don't think the live show would translate well at that point... grey, frail deer wearing high-heeled shoes, grazing by a graveyard. Hmm. We ought to sell that one to Ralph Steadman, ha! Grim.

I hate to ask this, because it’s such an obvious thing to bring up, but I’d like to know a little more about what led to the firing of Jack White. The reason I ask is because I’ve always had a hard time really appreciating the White Stripes as much as everyone else seems to (ed. note: I still think they're good, just not as good as The GO). I felt like he took a step down from The GO, you know? You guys released one of the best albums of the 90s.
Jack's my friend. He's a true grit individual. I'm sure, at times, that he misses dragging around with a bunch of wild eyed misanthropes... but, such is life. I know he's doing well for himself and his big sister Meg. I was never that close with him during our time together in 'The GO', but now, occasionally we pass notes. He's the hardest working button to button. Back then we were relentlessly struggling for identity, still am. There was a moment where we almost started to sound like 'The White Stripes', I said no. We were all developing fast and we were forced to consider the possibilities i.e., flirting with Jack's vision or following our own. We couldn't communicate properly. Everything was a miss. He has a voice, it ought to be heard... pronounced. Together we became the fatal flaw (wink); sweet memories for his energy, but such a struggle. I'm sure that somebody would have eventually been murdered in a lovers quarrel. Hotcha.

Do you get sick of the White connection? Do you enjoy the extra attention it gets for your band? It seems like it’s a pretty minor footnote in your history, but I can see where it might be something you can take advantage of to get people interested in The GO.
No. I never get sick of it. Not much to be sick of. We are all in connection with this history. Why bother? It's alive and is as relevant now as it's ever been. I couldn't possibly imagine how to take advantage. I don't feel the situation. We could dress in red and white, but that would be silly. I'll try to think of exactly how to take advantage and try it maybe. I think that you mean we could make an attempt at getting famous by way of 'The White Stripes'... I don't know how that would work exactly. I don't want to sleep with Madonna (I'm lying). I don't think she'd enjoy me though. Allen Ginsberg's dead; I don't want to be famous anymore. I would have asked Jack to introduce me. No point now, why bother? Larger fish to fry... I'd like to find a woman with self respect... perhaps she can spare enough for two. I doubt I'll find her between the pages of a magazine. I'm in no hurry. That's my priority. I haven't any interest in a holy grail for public consumption. I'd rather concentrate on a coherent album, and love, and dead visionaries that are a bad influence on my well being.

Maybe "take advantage" was a bad choice of words. I just mean that those who look back into what Jack White had done before might get turned on to The GO if they look back at what he did previously. I'm guessing when you say that you don't get sick of his association with the band, that you can appreciate when a White Stripes fan can get into your band, correct?
Of course. I understand. We are talking about people who are open minded enough to allow themselves to appreciate roots rock music. 'White Stripes' fans, 'GO' fans, people that love music are our audience. I wouldn't pass judgment or pick sides. Now, we just did a short tour with Jack in the UK and, believe me, 2,000 people waiting to hear their new favorite band are a tough crowd to move. But when I looked into the audience, I saw young, fresh faces interested and curious to identify with something unexpected. 4,000 phosphorescent eyeballs gaze toward the stage as if to say, "Turn me on right now." So there you go, make a connection with somebody. Let your voice be heard. I believe that there's an audience for everybody if you're really serious about your intention. Just reach out and write from the heart, somebody will listen. Could we possibly discriminate? I read somewhere that Miles Davis was disappointed when he realized that a massive Caucasian audience was turning up for his shows... the quote was probably butchered, but I was surprised, obviously. Jazz is a religion to me. Strong emotions are instantly triggered when I listen to 'Kind Of Blue' and 'On The Corner'. I'm transfixed on his expression through tradition to fusion... I love him for that. I want to believe that his delicate, seemingly otherworldly arrangements express his intuitive, touched condition, his experience. I believe that I'm a part of that. Maybe not. Anyway, let's come to an understanding. I want to relate, as not to feel like a ghost that haunts a body, but a part of some collective consciousness, where everybody's always welcome.

It sounds like you’ve dealt with a lot of weird shit in the Detroit scene. Your web site mentions fist-fighting the audience and boycotting by journalists. What happened?
I don't know. We've never had a fist-fight with a Detroit audience. We know everybody. I wouldn't want to fist-fight anybody here, they're too tough. I fight small people who I can overtake easily, mainly women and children, bury them in the ground, bark at their head-stone. I'll kick the shit out of a little baby (if I have to). Sometimes I can fall into a fatalist trap, some introspective pit of hell and end up provoking the biggest guy in the bar, usually out of town. These days I prefer to make friends and get high mainly. Now, journalists don't care for us sometimes, and I can't care for them usually. Occasionally I meet a journalist and become friends but it's rare. It's hard to find a reason to belong to something. Plenty of journalists or average people, regular people are looking for a place to file everything that they come across. They feel the need, naturally, to investigate and (unfortunately) reduce everything to their basic understanding of the familiar... what's that for Christ's sake? It's a knee-jerk reaction and, there you go. It's the same fool that tells you to "get over it"... I never want to associate with a person that would tell me to "get over" anything. I'll never get over anything. I'm still harboring resentment from birth... my pediatrician was an asshole, cold hands... thoughtless expressions, so I can't relate to journalists. Compliments and insults read the same way to me. But, I'm usually up for the abuse. Just a friendly masochist at heart. I enjoy confrontation. I like torturing people when they allow me... one of my favorite functions. Torture can just go on forever... it never has to end. Both parties have to release that grip before the suffering subsides. So torture can give my life texture, the layers that keep my mind in it's clear spot. So be it for fighting, fucking, drugs, philosophy, romance and liquor... endless struggle, uprooting the earth's main vein, get in it's blood... through the night and into the dawn for an immaculate madness breakfast, leading to the perfect moment of clarity where my exclusive reality exists... and it's taken me twenty seven waking hours, but I'm finally aware that I love to suffer. So, yes, I guess weird shit happens all the time, if you want it.

Ok. Who would you rather share the stage with, Crow or The Crazy World of Arthur Brown?
Hawkwind.

Want to talk about The Go in The Odyssey Forum?