The B-52's - "s/t" (Warner Bros. - 1979)

Are you in the mood for an absurdist beach party? You soon will be. I am going to be pairing the wonderfully kitschy fun of the B-52's first record with a couple of summery Harpoon offerings. Why? Well, it is summer, and the premier track on the record features a ton of references to sea creatures, and harpoons have been known to be used to hunt such things, and so there's somewhat of a nautical theme going on here... Oh, just quiet down and drink up and listen. To be fair, a more suitable pairing would have been some sort of crazy tropical, fruity, rum-based concoction adorned with miniature umbrellas and plastic mermaids and served in some ridiculous glassware, (like those featured in one of my all-time favorite Kids in the Hall skits), but alas... what's done is done.

I opt for the Bohemian Pilsner for side one. Mostly because I prefer the Summer Ale and therefore wanted to save it for last. I'm not necessarily a huge fan of the Pilsner style of beer, but this particular one is very drinkable. It has an enticingly sweet aroma and a good amount of flavor. Its lightness and almost complete lack of any aftertaste make it a good beer for a hot summer day.

I have to make note of the utterly perfect simplicity of the album cover, designed by London artist, Tony Wright. It says everything you need to know about this band. Their sense of aesthetic and style is matched incredibly well by their sense of humor. I love the solid yellow background. I love that there is absolutely nothing in the imagery to even hint at the time period this was released into, (the disco-infused late 70's). I'll admit it does fit in with some other post-punk offerings of the time, but it definitely stands out as unique. In fact, the band themselves seemed to like it so much they utilized a very similar template for their second album. If memory serves me, I purchased this for around $5 at the long-since-closed Hi-Fi records, which had its home on Centre Street in Jamaica Plan, MA.

The album opens with what sounds like a cross between a submarine and an alien telegraph operator, tapping out frantic and ultimately meaningless Morse code. Soon, the signature guitar riff creeps in, sounding like a sped-up version of the Peter Gunn Theme, and "Planet Claire" is up and running. Several of the album's major themes are evident within: absurd and seemingly made-up-on-the-spot, spoken-rather-than-sung vocals; surf guitars; kitschy references to 50's culture; and let's not forget the Farfisa organ. From what we can gather from Fred Schneider's distinctive rambling, this so-called Planet Claire is known for having "pink air," for being devoid of the concept of death, and for being inhabited by people with no heads. Okay! The second track, (my personal favorite), is the upbeat and punkish "52 Girls." It begins with a short drum intro and quickly gets down to business with some great guitar and catchy, fun vocals. It makes me want to get up and dance, and I fucking hate dancing. In keeping with the band's penchant for listing off things, this song features a sort of roll call of girl's names, starting off with band member's Kate and Cindy. "These are the girls of the U.S.A., can you name them today?" I'm probably going to need a bit more time than that. "Dance This Mess Around," is sort of an insane, threatening plea for a dance partner. Slow and creepy, with lines delivered in utter desperation such as, "Why don't you dance with me, I'm not no Limburger!" The song eventually builds up in intensity and fulfills the listing quota with Fred naming a variety of dances, including "The Shy Tuna." I imagine that would be performed scrunched up in a corner, slowly rocking yourself with your head between your knees and not making eye contact with anyone. Last up is the song they would be best known for, (at least until "Love Shack" was released). "Rock Lobster" is a surf-inspired, atomic beach party dosed with LSD. It is fun. It is crazy. It has some serious cowbell. It is far, far too long, yet I don't want it any other way. Name one other damn song in the entire world that manages to get the word, "narwhal" into it. I dare you. (Video below is a shortened, yet still awesome version).

Ahh, finally on to the Summer Ale. Perfectly pleasant and refreshing. Not too sweet, not too light. And now on to side two. As much as I enjoy this record, I have to admit that the second side pales in comparison to the first. "Lava" starts it off, a slower number, and somewhat forgettable. There is a volcano theme, as you might have surmised. "There is a Moon in the Sky (Called the Moon)" is easily one of my favorite song titles ever, and picks up the pace left in the wake of the tepid opener. The $20,000 Pyramid-style listing of related things continues with Things You Might Find In Outer Space. Let's take a moment to appreciate the greatest game show theme song ever written:

Look, I know it eventually became the $100,000 Pyramid and started out as the $10,000 Pyramid, but it will always be the 20 to me. Okay, back to side two. "Hero Worship" departs a bit from the surf kitsch and sort of gives a hint at what the band will sound like a decade later. It's a more straight-forward tune, and has some interesting and fun guitar interplay. "6060-842" brings back the crazy and features some prominent wood block action, if you're into that sort of thing. A short song about a number written on a bathroom wall which turns out to be disconnected. How I hate when that happens. The album finishes with an inexplicable and very forgettable cover of the song often sung by a Sinatra or two, "Downtown." Lackluster. I think I'll put on "52 Girls" again. That's the stuff!