The B-52's Albums (7)
What The Critics Say
After hearing the ultra-sheen producer Steve Osborne smoothed across New Order's 2001 album Get Ready, the B-52s' guitarist and music director Keith Strickland found the sound that would bring his band into 21st century. The ultra-slick, synthesizer and drum machine driven Funplex is the result, and while it doesn't make up for the 16 years since their last full-length, it's a good argument that they should get off the revival concert circuit and get back to the studio more often. On the opening "Pump," singers Kate Pierson and Cindy Wilson prove right away they can still create sweet harmonies, while Fred Schneider displays that he's lost none of his campy spark and still sounds credible when barking out stories of hot mamas cruising the mall while high on diet pills. The track's exciting Stereolab-meets-Duane Eddy construction vindicates Strickland's hunch about Osborne, whose half-new wave, half-MP3 age production is a great match throughout. The band's shimmy and shake performance is as energetic as ever and with songs like "Hot Corner," "Juliet of the Spirits," and the title track bringing warm reminders of "Roam," "Summer of Love," or "Good Stuff," the B-52s in 2008 are still adding fine material to their catalog. Bright moments that loyal fans will cherish dot the album, like when Fred delivers a "Robots-Bootybots-Erotobots" chant ("Love in the Year 3000"), or when a simple, quintessential B-52s riff mixes with intoxicating future disco ("Eyes Wide Open"). Problem is the songwriting seems a bit forced at times and the towering highlights found on their top-shelf efforts are missing. Nothing here is as gripping or as perfect as "Rock Lobster," "Private Idaho," or "Love Shack," and the songs that are borderline filler get pushed into one big forgettable lump towards the end of the album. Turns out, being the world's greatest party combo isn't just like riding a bike, but the B-52s are certainly pointed in the right direction. Think of Funplex as a likeable album from a lovable band and adjust your party planner accordingly. ~ David Jeffries, All Music Guide
What The Critics Say
If Cosmic Thing found them returned to most-favored party band status, this followup gamely soldiers on in similar fashion. Without Cindy Wilson, Good Stuff becomes Kate Pierson's showcase, while even Fred Schneider turns in his most purely musical performance to date. If the B-52's hit some dead ends while trying to stretch out a bit, be assured there are enough classic bits to make this one worthwhile. ~ Steve Aldrich, All Music Guide
What The Critics Say
Many observers were prepared to write off the B-52's after the release of Bouncing Off the Satellites. Granted, the album was completed in the wake of Ricky Wilson's death, but the group appeared bereft of new musical ideas and were sounding rather stale. In other words, the last thing anyone expected was a first-class return to form, which is what they got with Cosmic Thing. Working with producers Don Was and Nile Rodgers, the B-52's updated their sound with shiny new surfaces and deep, funky grooves -- it was the same basic pattern as before, only refurbished and contemporized. Just as importantly, they had their best set of songs since at least Wild Planet, possibly since their debut. "Cosmic Thing" and "Channel Z" were great up-tempo rockers; "Roam" had a groovy beat blessed with a great Cindy Wilson vocal; and "Deadbeat Club" was one of their rare successful reflective numbers. Then there was "Love Shack," an irresistible dance number with delightfully silly lyrics and hooks as big as a whale that unbelievably gave the group a long-awaited Top Ten hit. The thing is, Cosmic Thing would already have been considered a triumphant return without its commercial success. The big sales were just the icing on the cake. ~ Stephen Thomas Erlewine, All Music Guide
'Bouncing Off the Satellites'
Release Date 1/1/1985
Tracks 10
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Two years after the release of Whammy!, guitarist Ricky Wilson died of AIDS, a shattering blow for the B-52's. The group recouped and finished Bouncing Off the Satellites, the album they were recording when Wilson died. Considering their loss, it's not surprising that the B-52's don't sound entirely focused throughout the record, and it's easy to forgive them for the momentary loss of direction. Musically, it's a continuation of Whammy!, with the group's signature sound being enhanced by drum machines, synths, and sessionmen. There are so many musicians on the record that it winds up sounding too carefully considered -- the polar opposite of the loose, inspired fun of their early work. That said, there are some flashes of inspiration scattered throughout the album ("Wig," "Juicy Jungle," "Theme for a Nude Beach," "She Brakes for Rainbows"). There isn't quite enough to make it of interest to anyone but the dedicated, yet those listeners will find that there's enough worth hearing on Bouncing off the Satellites, especially if they're in a forgiving mood. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Following the botched collaboration with David Byrne on Mesopotamia, the B-52's decided to craft their fourth album as a return to the pop-culture funk explosion of their debut. Smartly, they decided to not simply replicate the skewed Southern funk of that album, choosing to update their signature sound with drum machines and new wave synths. As a result, it now sounds a little forced and dated, but the best moments -- "Legal Tender," "Whammy Kiss," "Butterbean," "Song for a Future Generation" -- rank as B-52's classics, and the entire record is certainly entertaining, even with its faults. [Whammy! was originally released with a cover of Yoko Ono's "Don't Worry." When the time came to reissue the CD in 1989, the group ran into copyright troubles with Ono and the song was pulled, replaced by "Moon 83."] ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Conventional wisdom has it that all the B-52's' subsequent releases are highly inferior to their debut. While Wild Planet is not the rarefied wonder their first platter is, it's still darn good. The songs here are generally faster, tighter, and punchier than previously, though production values are not as wonderfully quirky and detailed; fewer songs here are as over-the-top crazy as the first album's "Rock Lobster" or "52 Girls." These formless selections continue to exhibit a cunning mix of girl group, garage band, surf, and television theme song influences, all propelled along by an itchy dance beat. "Give Me Back My Man" allows Cindy Wilson a unique opportunity to croon a broad, expressive melodic line. Fred Schneider parades his inimitably nervous vocals on chucklesome ditties like "Quiche Lorraine" and "Strobe Light." The best songs here are "Private Idaho," a wonderfully jittery number that employs a variant on the famous melodic snippet from the Twilight Zone theme music, and "Devil in My Car," a delightfully loopy hoot that lays the craziness on very thickly. Performances and sound quality are fine. This album is well worth hearing and recommended. ~ David Cleary, All Music Guide
What The Critics Say
Even in the weird, quirky world of new wave and post-punk in the late '70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture -- bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds -- to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party. The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, shrill close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as "Planet Claire," "Dance This Mess Around," and, of course, their signature tune, "Rock Lobster." These songs illustrated that the B-52's' adoration of camp culture wasn't simply affectation -- it was a world view capable of turning out brilliant pop singles and, in turn, influencing mainstream pop culture. It's difficult to imagine the endless kitschy retro fads of the '80s and '90s without the B-52's pointing the way, but The B-52's isn't simply an historic artifact -- it's a hell of a good time. ~ Stephen Thomas Erlewine, All Music Guide
