Cosmic Thing was the 9th best-selling album of 1990 in the US, peaking at No. 4 on the Billboard 200, and was an international success as well, charting in the Top 10 in the UK, and reaching No. 1 in Australia and New Zealand. The album eventually achieved 4× platinum status in the US and platinum status in the UK. Its success served as a comeback for the band, following the death of guitarist, songwriter and founding member Ricky Wilson in 1985. The band also embarked on the worldwide Cosmic Tour to promote the album.
Background
I wanted to keep some connection with what Ricky had done ... He was a very key ingredient in our sound, and I just didn't want that to disappear. I knew that once we started playing live, there'd be older material to play, and if we got somebody else, I'd have to be there giving them a lot of hints, like the tunings and everything. So I figured I'd just do it myself. I knew enough that I thought I could do it. Well, I was hoping I could do it.
—Keith Strickland; Rolling Stone magazine, 1990[1]
Following guitarist Ricky Wilson's death and the band's short promotional campaign for their 1986 album Bouncing Off the Satellites, the band was uncertain about their future together.[2] The album had been the band's most expensive to produce, and their foregoing of a tour to promote it resulted in the band seeing little revenue, which led to them experiencing great financial difficulties.[1]
In 1988, prompted by drummer/guitarist Keith Strickland, the band began to group together and write new songs.[3] Singer Kate Pierson described this as a healing process for herself and the band after Wilson's death three years prior.[2] Much of the album was written in Woodstock and surrounding areas in upstate New York, a place to which Strickland and Pierson had both relocated during the group's hiatus, and all four members felt a proximity to nature in these places that was not found in their previous home of New York City.[3] The band spent approximately a year writing the songs.[4] Strickland stated, "We spent a lot of time just talking, and we needed that. We were our own support group after Ricky's passing, which was a very traumatic thing for all of us and, in particular, for Cindy."[4]
The band rented a rehearsal space in the Wall Street area of Manhattan, in which they worked four days a week.[4] At this time, the band also left their longtime manager, Gary Kurfirst, and left longtime label Warner Bros. for Reprise.[1]
Composition
In the wake of Wilson's death, Strickland took over both guitar duties and the bulk of the music composition responsibilities.[2] For the new songs, Strickland recorded instrumental demos and singers Pierson, Cindy Wilson and Fred Schneider would then improvise melodies and lyrics over the recordings, with all four band members devising the final song arrangements together.[3] The first piece of music Strickland composed for the album would eventually become "Deadbeat Club", whose autobiographical lyrics about the band's early life in Athens, Georgia would serve as a blueprint for the album.[1] "Junebug" was the first song to be fully completed during the band's compositional jam sessions, which gave them confidence to persevere.[5][6] Pierson described these songs as being "cinematic" and "nostalgic", and felt that the album in general had developed a "rural, kind of southern, dusty feeling to it".[7] Wilson added, "It was all about nostalgia. It was looking back at the good times we used to have in Athens, so it was a wonderful, healing record."[4]
Our 'agenda' wasn't at first necessarily related to 'queerness,' but more universal—putting lyrics in that referenced political ideas. But later, after Ricky’s death, we became much more activist, becoming involved with PETA, environmental causes, LGBTQA rights, and especially AIDS activism. During this time, many other friends were dying of AIDS; it was terrifying and sad, and we joined in to do what we could and speak out.
Pierson stated that some songs on Cosmic Thing were more "pointed" about their concerns—such as environmentalism—than on previous albums, adding, "we definitely still have a light tone, but I think we've all evolved and grown and matured".[7] Discussing "Channel Z", Schneider later recalled, "We were really pretty political as a band. Rather than clothes and wigs and stuff, I'd rather talk about politics, and I know the others do too, because it's more important, what's going on in the world."[8]
The album's biggest hit, "Love Shack", was the last song recorded for the album and was developed from a 15-minute unfinished piece the band had created.[3] Strickland had initially felt the song was not ready to be released, but Pierson and Schneider felt it would be successful.[4] After the band finished their sessions with Was a day ahead of schedule, he asked if they had any more material and the song was brought in to refine and embellish upon.[3]
Music journalist Michael Azerrad noted that Strickland devised the album's final track sequence as if it were a film, moving from rural themes to more abstract concepts, culminating with an instrumental coda akin to a closing credits sequence.[1] Strickland later elaborated: "We sequenced it in a way that we felt told a story. I don't know if anybody's ever noticed it, but one song leads into the other in a nice way. It tells a story from beginning to end."[4]
Promotion and commercial performance
"Channel Z" was selected as the album's first single and was released in March 1989. While the single was not commercially successful in the mainstream at first, it generated substantial amounts of airplay on American college radio, helping re-establish the group's youth popularity. The single eventually peaked at number one on the Billboard Modern Rock Tracks chart,[10] and reached number 61 on the UK singles chart.
Following the release of promotional single "Cosmic Thing", June 1989 saw the release of the band's largest global hit, "Love Shack". Pierson recalled that radio programmers initially "weren't really enthusiastic" about the song and that Schneider was instrumental in promoting it to indie radio stations, which eventually led to its embrace by college radio.[4] The track helped propel the success of the album globally, while reaching number 3 on the US Billboard Hot 100,[10] and number one on Billboard's Modern Rock Tracks chart.[10] The song also reached number 2 in the UK, and spent 8 weeks at number one in Australia in 1990. Following this, the album reached the top 10 in the US[10] and UK album charts, and number one in Australia and New Zealand. The song's music video won the award for Best Group Video at the 1990 MTV Video Music Awards.[11]
Aided by the further success of singles such as the transatlantic top 20 hit "Roam" and the US top 30 hit "Deadbeat Club",[10] the album continued to sell strongly, particularly in the US, where it spent 22 weeks inside the Billboard 200 top 10 in 1990,[10] becoming the country's 9th best-selling album of the year.
By 2000, "Cosmic Thing" had achieved platinum status in the UK,[12][failed verification] and 4× platinum status in the US,[13][14] denoting sales of over 4 million copies there. As of 2019, the album had sold over 5 million copies worldwide.
Robert Christgau of The Village Voice opined that the album was "an almost touchingly brave attempt to dance away from the edge of ecocatastrophe" and found the band "trying to be seriously silly", but concluded that, "between Ricky Wilson's guitar and the permanent defeat his loss doesn't merely signify, they can't quite bring it off."[23] Jim Farber of Rolling Stone thought the album found the B-52's "on summer vacation, hanging out in the heat, fashioning insouciant odes to sloth", and that the band still mixed seriousness with "an impassioned commitment to goofiness." He continued that the best songs "proudly declare silliness as a central part of identity" and that their most exciting material had always been "ballads with a backbeat", citing "Roam" and "Dry County" as examples.[20]Kristine McKenna of Los Angeles Times felt the album sounded "remarkably fresh", despite adhering to a classic formula, and observed that "the slower pace of life associated with the South colors the entire album", noting that Wilson and Pierson "give soul to this irresistible LP, which may shape up to be the record you hear at every party this summer."[17]
In retrospective reviews, Stephen Thomas Erlewine of AllMusic found the album to be "a first-class return to form" that "updated their sound with shiny new surfaces and deep, funky grooves", containing "their best set of songs since at least Wild Planet, possibly since their debut."[15]J.D. Considine in The New Rolling Stone Album Guide observed that the songs "reprise the band's early sound without any edge or ambiguity", and saw the band "tumble into self-caricature."[21] Rich Wilhelm of PopMatters noted that while Cosmic Thing "fully brought the band's sound to the mainstream", it also "proved to have depth" and was "a fun, beautiful, and life-affirming record that was also a big hit."[19]
Tour
In addition to the album's successful singles, the band embarked upon the extensive "Cosmic Tour" to promote the album worldwide, their first tour since Ricky Wilson's death. Drummer Strickland switched to guitar for the tour with Zack Alford serving as the touring drummer. Sara Lee played bass guitar and Pat Irwin was keyboardist and extra guitarist.[1] This was also the first tour in which the group hired a backing band, meaning the group's members, especially Pierson, had more opportunity to move around on stage[1] and gave their songs more accuracy to the studio versions in concert. Due to the band's growth in popularity at this time, the tour venues grew from theaters to large arenas and stadiums.[24]
The band's first comeback performance was at a benefit for PETA and they arranged for various organizations, including PETA, Greenpeace and Amnesty International, to advertise at each concert's venue.[1]
Track listing
All tracks are written by the B-52's, except "Roam", lyrics by Robert Waldrop
The B-52s, originally presented as the B-52's, are an American new wave band formed in Athens, Georgia, in 1976. The original lineup consisted of Fred Schneider, Kate Pierson, Cindy Wilson, Ricky Wilson (guitar), and Keith Strickland. Ricky Wilson died of AIDS-related illness in 1985, and Strickland switched from drums to lead guitar. The band has also added various members for albums and live performances.
The B-52's is the debut album by the Athens, Georgia-based new wave band the B-52's. The kitschy lyrics and mood, and the hook-laden harmonies helped establish a fanbase for the band, who went on to release several chart-topping singles. The album cover was designed by Tony Wright.
Catherine Elizabeth Pierson is an American singer, lyricist, and founding member of the B-52's. She plays guitar, bass and various keyboard instruments. In the early years, as well as being a vocalist, Pierson was the main keyboard player and performed on a keyboard bass during live shows and on many of the band's recordings, taking on a role usually filled by a bass guitar player, which differentiated the band from their contemporaries. This, along with Pierson's distinctive wide-ranging singing voice, remains a trademark of the B-52's' unique sound. Pierson has also collaborated with many other artists including the Ramones, Iggy Pop and R.E.M. Pierson possesses a mezzo-soprano vocal range.
Frederick William Schneider III is an American singer and frontman of the rock band the B-52's, of which he is a founding member. Schneider is well known for his sprechgesang, which he developed from reciting poetry over guitars.
Wild Planet is the second studio album by American new wave band the B-52's, released in 1980 by Warner Bros. Records.
Good Stuff is the sixth studio album by American new wave band the B-52's, released in 1992 by Reprise Records. It was conceived after the band's manager urged them to quickly issue a follow-up to their highly successful album Cosmic Thing (1989) and was created without founding member Cindy Wilson, who was on a temporary hiatus. The album peaked at No. 16 on the Billboard 200 and its title track peaked at No. 28 on the Billboard Hot 100. Good Stuff was nominated for Best Alternative Music Album at the 35th Annual Grammy Awards.
Whammy! is the third studio album by American new wave band the B-52's, released on April 27, 1983, by Warner Bros. Records. It was recorded at Compass Point Studios in Nassau, Bahamas, in December 1982 and produced by Steven Stanley. The album spawned three singles: "Legal Tender", "Whammy Kiss", and "Song for a Future Generation".
Bouncing off the Satellites is the fourth studio album by American new wave band the B-52's, released on September 8, 1986, by Warner Bros. Records. It was recorded in July 1985 and was produced by Tony Mansfield. Founding member and guitarist Ricky Wilson died of AIDS after most of the work on the album was completed, but a year prior to its release. The B-52's had gone on hiatus by the time Bouncing Off the Satellites was released, and it took three years for the band to recover from Wilson's death and release their next studio album, Cosmic Thing.
Cynthia Leigh Wilson is an American musician and one of the vocalists, songwriters and founding members of new wave rock band the B-52's. She is noted for her distinctive contralto voice and also plays percussion during live shows. She is the younger sister of the late guitarist Ricky Wilson (1953–1985), who was also a founding member of the band.
Ricky Helton Wilson was an American musician best known as the original guitarist and founding member of rock band the B-52s. Born in Athens, Georgia, Wilson was the brother of fellow member Cindy Wilson. The B-52s were founded in 1976, when Ricky, Cindy, Kate Pierson, Keith Strickland and Fred Schneider shared a tropical flaming volcano drink at a Chinese restaurant and, after an impromptu music session at the home of their friend Owen Scott III, played for the first time at a Valentine's Day party for friends. Wilson's unusual guitar tunings were a large contribution to the band's quirky sound.
"Rock Lobster" is a song written by Fred Schneider and Ricky Wilson, two members of the B-52's. It was twice recorded and released as a single, first by DB Records as their debut release in April 1978, and again the following year for the band's self-titled debut album on Warner Bros. Records.
Party Mix! is a remix album by American new wave band the B-52's, originally released in 1981 by Warner Bros. Records.
Mesopotamia is an EP by American new wave band the B-52's, released in 1982. It was produced by David Byrne of Talking Heads and was originally planned to be the band's third studio album. Due to conflicts with Byrne and record label pressure, recording sessions were aborted prematurely and only six of ten songs to be completed were released. The record was distributed as a 12-inch EP by Warner Bros. in the U.S. and by Island Records on vinyl and cassette in the UK and other non-U.S. markets.
"Roam" is a song by American new wave band the B-52's released as the fourth single from their fifth studio album, Cosmic Thing (1989). The vocals are sung by Kate Pierson and Cindy Wilson, making it the only vocal track on the album without any vocal involvement from Fred Schneider. It is also the only track from the album in which the B-52's worked with a co-writer, Robert Waldrop, who penned the lyrics. Released as a single in 1989, "Roam" peaked at number three on the US Billboard Hot 100 and entered the top 10 in Canada, Ireland, and New Zealand.
"Deadbeat Club" is a song written and performed by American new wave band the B-52's. The song was released as the fifth and final single from their fifth studio album, Cosmic Thing (1989).
"Channel Z" is a song by American band the B-52's from their fifth studio album, Cosmic Thing (1989).
Funplex is the seventh studio album by the B-52s, recorded during 2006 and 2007. The album was released on March 25, 2008 by Astralwerks Records. It was the first album of new material the group had released since Good Stuff in 1992, although the band did record two new songs for their 1998 compilation album Time Capsule: Songs for a Future Generation.
"Legal Tender" is the first single released by the B-52's from their third studio album Whammy! (1983).
This is the discography and videography of American rock band The B-52s.
"Love Shack" is a song by American new wave band the B-52's from their fifth studio album, Cosmic Thing (1989). It was released on June 20, 1989, and was produced by Don Was. The song was a comeback for the band, following their decline in popularity in the mid-1980s and the death of guitarist Ricky Wilson in 1985.
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