There's a lot of goodwill directed at them, particularly because they were the first all female rock band to score a pretty much self penned No.1 album and they had a few cruisey hits, in particular Our Lips Are Sealed.
They don't earn the musical respect that Joan Jett, Chrissie Hyde or even The Bangles still do, but that's because their recognition is based on what their success symbolised rather than what they actually produced.
I'm not here to fight the fight for The Go-Go's, as much as I dig their achievements. When they went their separate ways, famously acrimoniously, Jane Wielden made the odd grab for attention, but there was only enough space in the universe for Belinda, and even then not for long.
She was the epitome of the new California girl. Remember in the 60s and 70s how California was portrayed as the land of the free love, of stopping the bomb and shaking up the changes inthe world? In the 80s the depth we associated with California evaporated. It became the kind of sun drenched landscape where deep thought drifted out over the Pacific, and to some extent still remains that way in the public consciousness. Yes, its home to the Silicon Valley, but its still a land of California Girls (and boys).
And so, after the Go Go's made that transition away from Punk Lite to pop, Belinda took the ball and ran with it. She had a couple of lightweight lovelies in the mid 80s; Heaven Is A Place on Earth and Mad About You among them, but when she came back onto the scene in 1989 with Runaway Horses she momentarily found the right mix between guitars, radio inspired rock and mainstream pop and made it her own...and ours.
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