B-52's Prep for True Colors Tour With Dance Party at San Francisco Club

May 12, 2008 10:55 AM ET

Every time they take a stage, the B-52's prove that there never has been another band remotely like them — even without their old thrift-store costumes and beehive wigs. At the Independent, a no-nonsense, 450-person-capacity San Francisco club, the veteran New Wave act road-tested a high-energy set that combined its all-purpose party anthems like "Love Shack" with jaunty new songs from Funplex, its first album in 16 years. Whether this stop on a short club trek was a dress rehearsal for Cyndi Lauper's much larger True Colors summer tour or a way for the quartet to recharge its batteries at the kind of small joints it abandoned soon after unleashing its 1979 debut, the Athens, Georgia-originated band proved its singularly kitschy fusion of surf, garage and sci-fi dance-rock has aged as well as its members.

Opening their show with the locomotive rhythms of Funplex's "Pump," the four surviving B-52's faced their enthusiastic fans in a line formation at the front of the stage that rarely shifted during the entire 100-minute set. >Keith Strickland on the far left kept alive the spirit of original guitarist Ricky Wilson with jagged, percussive riffs. Cyndi Wilson batted her long metallic silver lashes at the crowd with a hand on her hip as she belted "Give Me Back My Man." Fred Schneider barked out his distinctive spoken vocals, showed off his Egyptian dance moves during "Mesopotamia," and did most of the between-song banter. "Hi, diehard fan," he answered someone in the audience. "I hope I die hard." Like most of his quips, this admission was met with knowing cheers. Kate Pierson on the far right shared blaring close harmonies with Wilson as she shimmied to activate red billowing shirt sleeves that contrasted with the other members' basic black duds. Pierson just turned 60, and she can still squeal those impossibly high-pitched "Rock Lobster" squeaks.

Wilson, Schneider, and Pierson traded round-robin vocal lines in combustive classics like "Private Idaho" while drummer Sterling Campbell, bassist Tracy Wormworth, and guitarist-keyboardist Paul Gordon provided clock-steady accompaniment. The crowd accordingly danced without pause. It had no choice.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Music Main Next
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.


We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Whoomp! (There It Is)”

Tag Team | 1993

Cecil Glenn — a.k.a., "D.C." — was a cook at Magic City, a nude dance club in Atlanta, when he first heard women shout "Whoomp — there it is!" Inspired by the party chant, he and partner Steve "Roll'n" Gibson wrote a song around it. Undaunted by label rejections, they borrowed $2,500 from Glenn's parents and pressed 800 singles, which quickly sold out in the Atlanta area. A record deal came soon after. Glenn said the song was meant for positive partying. "If you're going to say 'Whoomp there it is,' and you're doing something negative, we'd rather it not have come out of your mouth."

More Song Stories entries »