A Quick Look At The B52s' Cosmic Thing As It Turns 35
Hurry up and bring your jukebox money!
Hey there! You’ve landed at On Repeat Records, a newsletter & community recently described as ‘the nicest place on the internet.’ If you’ve been looking for an engaged community of people who share your love of music, you’re in the right spot.
We don’t run ads here. On Repeat is made entirely possible through the support of our paid supporters. You can back independent ad-free music journalism for less than $1 a week.
Good Morning!
Today we’re taking a quick look at The B52’s 1989 record, Cosmic Thing.
We would go to radio stations basically to beg them to play the song. Even the record company thought it was too weird. I thought it was the most accessible thing we had done.
The B52s’ Fred Schneider
Tomorrow marks 35 years since The B52s released Cosmic Thing, their fifth full-length studio album1 and the first made without founding member Ricky Wilson.
After an incredible three-record run, the B-52s had carved out a place as cult favorites and the perfect soundtrack for any party—out of bounds or not. However, tragedy struck the band when Wilson passed away. The remaining members finished the fourth album but didn't tour to promote it or really do much with it at all.
The album signals a shift in the group's style. Wilson's death was a shock to the system. The quirky lyrics and party band mood were still there, as was the big hair. But this record pivoted to more sophisticated sounds and heavier grooves. It was met with lukewarm critical reviews and low commercial sales and is often overlooked in discussions about the band. If anything, it’s very much a record occupying a liminal space in the band’s discography and marks the boundary between Ricky's records and the ones that came afterward.
After Wilson’s death, no one would’ve blamed the B52s for calling it quits. Indeed, they almost did. Raw with grief, the band pushed on and released 1986’s Bouncing Off the Satellites, a record that even today has never quite washed off the ash of loss it was covered in. It’s a record from a party band who felt like doing anything but.
Camp and a good time were two of their calling cards, all packaged in lovely new wave sound. Those were largely absent on Bouncing, leaving fans wondering what—if anything— was next.
Like the band, I found this record in a liminal space in my own life. In the fallout after my dad’s passing, my mom and I somehow found ourselves at K-Mart, of all places. Turns out that even in the throes of grief, you need things like potting soil. On that trip, I got a scooter and a copy of this on cassette. I don’t remember asking for either. In hindsight, I think as a recent widow, my mom just wasn’t sure what to do, and maybe throwing some gifts at it all would help. The scooter lasted a matter of months. The cassette is upstairs somewhere as I type this.
📻📻📻
"I lived in a house across the pond from Keith [Strickland], and I’d canoe over to his house…he played me a couple of things, and then we all got together. We said, 'This is for us, for our healing, and this is for Ricky.' It was kind of miraculous that we came back together."
Flash forward 3 years, life is better, though trying to navigate high school in the late 80s was, um, something. Meanwhile, at the urging of Keith Strickland, the group decided to give it another go. You never really know what you’ll get with the B52s (this band gave us everything from ‘Private Idaho’ to ‘Quiche Lorraine,’ after all), and the tracks on Cosmic Thing were no exception. Camp and quirk were out, traded for a much more polished, full sound. New wave was swapped for pop. Much of that was down to the production combo of Niles Rodgers and Don Was, with the legendary Chic guitarist giving the record plenty of funk and Was adding touches of pop magic throughout.
Sound aside, the record also marks a departure from the band’s vocal stylings. Whereas before, they’d done a lot of call-and-response-type stuff or had either Cindy Wilson or Kate Pierson singing alone, this time, the producers had them singing together on tracks like ‘Channel Z,’ ‘Cosmic Thing,’ and ‘Deadbeat Club.’ And by together I mean so closely in tune that listeners would be excused for thinking it was one wonderful voice.
If Bouncing Off the Satellites’ sound signaled the start of the transition, Cosmic Thing represented a clean break.
The lead single, ‘Channel Z,’ with its thumping bass, is infectious and reminds one of ‘Mesopotamia.’ It was purpose-built to be a dancefloor filler. Nevertheless, it fizzled on the charts, not even breaking into the Hot 100.
The title track did a little better, quelling some fears, but it would be the third single that changed everything.
That single the band had such a hard time selling to radio stations?
It was ‘Love Shack.’
The song took its sweet time to work its way up the charts, taking 2.5 months to work all the way up to #3 on the Hot 100 before starting its reentry back to earth. But it’s also never really left the airwaves and can still be heard fairly regularly today.
If there was any question that this was a comeback record, ‘Roam’ erased those doubts. The follow-up to ‘Love Shack’ also made it all the way to the third spot in early 1990 and helped the record peak at #4.
‘Deadbeat Club’ was the last of the singles and made it to #30. It’s also the most wistful track on the album—which, after a decade together, probably makes sense—and if forced to choose, is the one track that’s out of place here. That’s not to say it’s bad—it’s not—but it’s different. Even the best of party bands is entitled to a little reminiscence.
📻📻📻
35 years on, it would be easy to call Cosmic Thing a statement record, and one that marked not only the band’s comeback but their ascent into pop stardom. That’s not quite how it played out, however. Cindy Wilson left in 1990 to focus on her family. The band, now a trio, released 1992’s Good Stuff, only to be met with mediocre sales and middling reviews. Wilson would eventually return, and the band would return to the studio…8 years later. In 2006, they began work on what would become 2008’s Funhouse. It had two singles make the dance charts but is largely forgotten otherwise.
So, where does that leave Cosmic Thing in the grand scheme of things?
It most certainly is a comeback record, and it made clear in no uncertain terms that the band was back (they are literally doing a final run of shows as I write this). Perhaps more importantly, on this record, the band sounds like they’re back to enjoying themselves again.
1989 was as good of a time as any for the band to take some risk and break some new ground. Cosmic Thing is a record that is a little introspective, a bit autobiographical, and a lot of fun.
Effie, Madge, and Mabel would approve.
📻📻📻
What are your thoughts on this record? Do you have any favorite tracks or memories associated with it? Where does it land on your list of albums by The B52s? Share your thoughts in the comments!
Thanks for being here,
Kevin—
The Mesopotamia EP was released in 1982 between Wild Planet and Whammy.
I had a group of friends who had just rented a house together when Love Shack came out - their house became The Love Shack!
We have a friend that comes to town every now and then, and every time we go out, we end up at a dive bar that does Karaoke, and he and another friend ALWAYS sing Love Shack together!
Ricky Wilson died of AIDS when the disease was taking people incredibly quickly. It happened so fast it destroyed the band, especially his little sister Cindy. Then the record company refused to promote his final album with the band since they wouldn’t be touring. Classy move. This band STILL has not even been NOMINATED for the rock & roll HOF. Absurd. Yeah, according to an interview with Cindy Wilson I recently watched, “Cosmic Thing” is a big old autobiography of the early days of the B-52’s.