A track-by track look at the classic debut from John Lennon’s then-favourites.
Planet Claire
The slow-burning opener to the album transports you to a planet where red trees grow and a headless population walks around while not breathing in pink air.
It does take time to reach Planet Claire, as guitar feedback gives way to a bongo-driven guitar riff that’s supposedly based on Duane Eddy’s version of Peter Gunn. But that morse code sound starts the journey to the strange planet, as does the Star Trek homage sighing from Kate Pierson (who apparently wasn’t too impressed when her vocals were sync-ed up with the accompanying Farfisa combo organ to create a synthesised voice).
After a lengthy introduction, Fred Schneider’s offbeat vocals kick into gear, with an unusually sinister edge. “WELL, SHE ISN’T!!” he snarls at one point, after others have mused on where Claire comes from – it ain’t Mars, for sure.
While it might be a bit too primitive production-wise for those who only know Love Shack, for confirmed fans, it’s a favourite. It was released in the UK as a double A-side with Rock Lobster, seven years after its initial appearance on the album, reaching Number 12.
52 Girls
A big draw of The B-52’s’ debut is its refusal to see the world through serious adult eyes. It’s endearingly childlike, both in song structure and lyrics. 52 Girls reads as a quirky nursery rhyme, listing girls’ names in a kind of song that wouldn’t sound out of place on Sesame Street.
Don’t be confused by the title, though. Kate and Cindy don’t actually harmonise 52 girls’ names – THEY are the ’52 Girls, declaring so against a more straightforward rock backdrop.
Dance This Mess Around
One of the best on the album, Dance This Mess Around boasts a tour-de-force vocal from Cindy Wilson. As with the rest of the album, there’s an appealing innocence about the lyrics. Cindy’s broken-hearted protagonist wonders why her man won’t dance with her. It’s a neat take on a cliche-ridden break-up song, and Cindy rages with real gusto.
Plus, it’s also funny. Punning on smelly Limberger cheese, Cindy insists that she’s a “limber girl” to her departing fella. It’s a clever witticism that you don’t really get any more in 21st century tunes.
The B-52’s debut was said to be the inspiration for John Lennon’s return to recording. However, it also inspired Yoko Ono to join him on the album. Cindy’s vocals are far more tuneful than Yoko’s, but a song like this showcases an unconventional vocal approach, with primal-like wails and screams. Yoko was convinced that there was more of a place for her unorthodox vocal stylings in the late ’70s and early ’80s, which is why she ended up singing half the tracks on Lennon’s comeback album, Double Fantasy.
Rock Lobster
The B-52’s signature tune and an instant classic. John Lennon reportedly heard this in a Bermuda club, and was instantly hooked by its unusual but danceable rhythm. A chugging guitar. A rhythmic Farfisa combo organ. Kate and Cindy scatting “Scaa-doo-ba-da… Eeewww!!” repeatedly as they are joined by Fred scatting about parties and earlobes and rock lobsters. No wonder Lennon’s interest and enthusiasm were piqued.
As far as celebrity endorsements go for your debut, you can’t get better than John Lennon. The B-52’s must have been delighted to get acclaim from the man himself. On top of which, imagine inspiring one of your musical heroes to start recording again.
The B-52’s came along at the right time. The music world of the late 1970s remains a potent mix of energy, creativity and also fun – Rock Lobster encapsulates this heady brew to a tee. It’s a combination that’s sadly missing from today’s joyless autotuned blandness.
Lava
Onto Side Two, and a more conventional rocker Lava, which has more double entendres than a Blu-ray boxset of Carry On movies. Pierson wrote the lyrics which include classics such as “My love’s mountin’/My love’s erupting like a red hot volcano.”
Actually, scrub the double, it’s more of a single entendre!
While not as catchy as say, Rock Lobster, Lava still flows quite nicely with a sturdy guitar riff from Ricky Wilson, and shared vocal duties between Fred and the girls.
There’s A Moon In The Sky (Called The Moon)
Far from being irritating or contrived, The B-52’s’ approach holds out a lot of appeal. It’s an audio cartoon, full of funny voices, strange characters, and a great sense of joie-de-vivre. Even Fred Schneider’s campy drawl wouldn’t sound out of place in a Hanna Barbera cartoon. Come to think of it, he could voice The Hooded Claw from The Perils Of Penelope Pitstop!
There’s A Moon In The Sky is one of the best showcases, and was popular enough to be reprised in slower fashion as Moon ’83 on their Whammy album. If you’re looking for a deep hidden meaning or subtext, you won’t find one. Just a good-time party in space with some clever musical touches, such as Kate and Cindy singing in exactly the same high pitch as the Farfisa organ. Ricky’s guitar work is first rate.
Hero Worship
Another great vocal workout from Cindy, but against a more punky backdrop. There’s less emphasis on funny noises and jokes, proving that the band could also do credible new wave and punk.
Cindy’s increasingly unhinged singing is ideally suited to this tale of an obsessive fan. By the end of the track, she’s progressed from manic giggling to all-out primal screams. It’s more of a grower, Hero Worship, but has considerable staying power.
6060-842
A return to more whimsical absurdity, this time concerning the sad tale of Tina, who upon seeing the number of 6060-842 scribbled on a toilet wall, decides to give it a call in the hope of a good time. Alas, the number’s been disconnected, resulting in disappointment all round. Ain’t that the truth?
I like this one. It’s throwaway nonsense to enjoy, but the musicianship can’t be ignored. Quick shout-out to Keith Strickland, who at this point in time, is behind the drum kit. 6060-842 demonstrates his unfussy but solid take on the skins, and the rhythm’s boosted by some bongo-playing intermissions.
Downtown
Tony Hatch’s ode to townies everywhere was originally a hit for Petula Clark in the 1960s. The B-52’s round off the album with a more eccentric interpretation, using a sparse organ-driven beat to drive Cindy’s vocals along. As the tune nears its end, Ricky joins in with guitar.
I must confess that this isn’t my favourite on the album. It’s a worthy cover version, but lacks that unique cartoony charm of many of its bedfellows.
(Cover art credit to Tony Wright AKA Sue Ab Surd)
