New wave is almost impossible to describe, but bands like Blondie and The B-52's invented it and decided to throw it everybody's faces. Before 2008, the latter act never really thrilled me. Growing up in and out of dance classes and recitals, their 1980s signature song Love Shack was staple-- an annoying one. I don't know what possessed me to even start listening to them. I just say the word funplex next to their name and thought it was a cute word, and if it's one thing this group knows, it's how to be fun. Upon first listen to the band's lead-off single Funplex, I denounced the band as a ridiculous parody of music. But no matter what my head told me, my feet kept tapping and my mouth was uttering the embarrassingly catchy lyrics of Athens group The B-52's.

I picked up a copy of what some call their comeback album on vinyl-- really, on a whim. I saw the cleanly mature jacket just sitting in the B-section, and something just compelled me to get it. The album has a zebra-striped label on it and from the side of the record, a separate copy on CD popped out. I had done some back catalogue browsing after hearing the first single, so I was relatively prepared for their explosive sound. I'm always interested in comebacks, and I'm usually delighted. The B-52's is no exception, as Funplex is instantly catchy, mature, and a clean take on the sound they capitalized on in the 1970s and 80s. Forever known for Fred Schneider's spoken vocals with Cindy and Kate damn-near wailing and screaming like banshees over a summertime beach rock sound. With Funplex being their second comeback (the first being the successful Cosmic Thing), The B-52's seem to be in a very good place musically.

Aside from the clever title-track, which is a hysterical parody of suburban malls, there are many upbeat tracks-- Pump and Ultraviolet keep that classic B-52's sound. Both are loud, hot, and have an attitude that could kill. Pump it up! Give it up! Turn up the trrraaaaaaccck! PUMP! And when you have three vocalists getting that up in your face, you oblige-- and you pump it up. The latter song swells before turning into an abrasive rock song. Whereas Pump is like the offspring of their debut album, Ultraviolet is a new twist on their sound. If there were ever a summertime anthem, it's this one: Four miles to a breakdown-- anybody wanna leave town?

It's rare that The B-52's aren't kicking your ears in with a mess of loud noise, but that's exactly what they did on Eyes Wide Open-- a song that barely sounds like them. In fact, after hearing it, my friend was floored when I told her who wrote it. The song is a mellow, downtempo dance song with a slight cowbell and symble backing as Fred and the girls coo softly over. At least, until the chorus comes in, and the vocals boom: I don't wanna rehash the past! .. Let's go down to our secret place; you've got my eyes wide open. Fred goes into a Debbie Harry-inspired break shortly after, giving off a snarling attitude: You're so good, so good you're bad-- what you've got is what I want! ...

Hailing back to the mid-80s, Dancing Now takes the sound on Cosmic Thing and gives it a complete makeover with thumping beats and a hot guitar. Glittery synth beat flicker throughout this song-- Fred actually sings. He's stilted, but he's singing. And throughout his chorus, the girls wail in the back: Dancing now...I'm dancing now. Somber, bittersweet, yet punching, this track is a gigantic kiss off in the style of the sugar-sweet sounds of The B-52's. Deviant Ingredient has got to be one of my favorite tracks the band has ever recorded. Everything from the B-Movie production to the Vegas-inspired sound to the twangy vocals scream "I am a B-52's classic." Most bands wish they could be this slick, yet still sound so cool and retro.

Whereas the B-52's were retro 60s back in the 70s, they are now retro 70s in the new millenium, and the results are usually beautiful. As for the few blunders on this record, there's only one that I can't stand-- Love In the Year 3000 is just a little too lame for my tastes, and I'm constantly skipping over it. In fact, I'm fairly sure I've never gotten all the way through it. We start out with a real dance-rock vibe that usually gets me going, but it quickly gets old and after the first thirty seconds, I'm done. Especially when the band start repeating Robot. Bootybop. Eroticbop. Juliet of Spirits and Too Much To Think About are not bad songs, but they are really disposable. If they are on, I don't rush to change them-- at the same time, I never seek them out. It's just a little too generic. Exactly the filler song you'd expect from this band. In fact, the latter is downright catchy; however the second it's over, you'll immediately forget it.

I have infinite respect for The B-52's for being a band that is 75% comprised of openly gay members and not backing down-- and besides that, they do what they do very, very well. They provide people with a rock n roll getaway in the form of 12 songs. While I can't recommend everything in their catalogue, this is one album I can wholeheartedly promote and enjoy.

LAST CHANCE TO DANCE!

TRACKLIST
Pump
Hot Corner
Ultraviolet
Juliet of Spirits
Funplex
Eyes Wide Open
Love In the Year 3000
Deviant Ingredient
Too Much To Think About
Dancing Now
Keep This Party Going

Recommended: Yes

Great Music to Play While: Driving