“Whammy” the third album

“Whammy!” is the third studio album by the B-52’s.
Released April 27, 1983

B-52's Whammy cvr

Spawning the popular singles
“Legal Tender,”
“Whammy Kiss,”
and “Song for a Future Generation.”

No-1 83 05 B-52's Whammy ad

“Whammy!” is the third studio and was recorded at Compass Point Studios in Nassau, Bahamas, in December 1982 and was produced by Steven Stanley. The record was refined and mastered at Sterling Sound, New York City. The band’s goal with Whammy! was to update their signature sound with drum machines and synthesizers.
The album entered the Billboard 200 twice in 1983, reaching both number 29 and 171 throughout the year, while “Legal Tender” reached the Billboard Hot 100 chart, as well as the Billboard Hot Dance Club Play Singles chart alongside its two respective singles.

Advertisements

“Mesopotamia” EP

“Mesopotamia”
Released January 27, 1982

B-52's Mesopotamia album promo poster 82

“Loveland”
“Deep Sleep”
“Mesopotamia”
“Cake”
“Throw That Beat in the Garbage Can”
“Nip It in the Bud”

“Mesopotamia” is an EP by the B-52’s. It was produced by David Byrne of Talking Heads and was originally planned to be the band’s third studio album. Due to conflicts with Byrne and record label pressure, recording sessions were aborted prematurely and only six of ten songs to be completed were released.

 

Considered a departure in style for the B-52’s; Byrne and the band added plenty of additional instruments, vocal overdubs, horns, synthesizers, layered percussion and an altogether richer sound.
The EP was a moderate success, and spawned three single releases: double A-sides “Deep Sleep”/”Nip it in the Bud,” “Cake”/”Loveland” and “Mesopotamia”/”Throw That Beat in the Garbage Can.”

“Party Mix!” remix album

“Party Mix!” is a 1981 remix album by The B-52’s
Released: July, 1981

81 10 B-52s Party mix ad

Released after their second album “Wild Planet.” This six-song collection contained songs from their first two albums remixed and sequenced to form two long tracks, one on each side.

“Party Out of Bounds” (Remix) (Schneider, Strickland, Wilson, Wilson, Pierson)
“Private Idaho (Remix)” (Schneider, Strickland, Wilson, Wilson, Pierson)
“Give Me Back My Man” (Remix) (Schneider, Strickland, Wilson, Wilson)

“Lava” (Remix)
“Dance This Mess Around” (Remix)
“52 Girls” (Remix) (Jeremy Ayers, Ricky Wilson)

“Wild Planet” the second studio album

“Wild Planet” is the second studio album by the B-52’s.
Released: August 27, 1980

B-52's Wild planet ad 80 08

“Party Out of Bounds”
“Dirty Back Road”
“Runnin’ Around”
“Give Me Back My Man”
“Private Idaho”

“Devil in My Car”
“Quiche Lorraine”
“Strobe Light”
“53 Miles West of Venus”

B52s Bahama wave
As with their first album, the B-52’s traveled to Compass Point Studios in the Bahamas to record Wild Planet.

Several of the songs from the album had been concert staples since 1978. The band consciously did not record them for their first album because they had too many tracks and wanted a strong second album, knowing that performing the tracks live would make fans look forward to it.

B-52's Wild Planet inner sleeve

Rhett Davies co-produced the album, and more emphasis was put on production for Wild Planet.
Wild Planet was quickly certified gold.

B-52's Wild Planet photo

“The B-52’s” debut album

“The B-52’s” is the debut album by the new wave band the B-52’s. The album cover was designed by Tony Wright (credited as Sue Ab Surd).
Released: July 6, 1979

79 07 B-52's 1979 album ad

“Planet Claire”
“52 Girls”
“Dance This Mess Around”

“Rock Lobster”
“Lava”
“There’s a Moon in the Sky (Called the Moon)”
“Hero Worship”
“6060-842”
“Downtown” (Petula Clark cover)

An impoverished two-girl, three-guy quintet from Athens, Georgia, the B-52’s could barely afford their own instruments…

79 07 B-52's 1979 Take Cover album ad

“The B-52’s” peaked at number 59 on the Billboard 200, while “Rock Lobster” reached number 56 on the Billboard Hot 100.

B-52's Ban Notice 1979

Music critic Robert Christgau awarded the album rating an “A,” commenting that he is
“more delighted with their rhythms, which show off their Georgia roots by adapting the innovations of early funk (a decade late, just like the Stones and Chicago blues) to an endlessly danceable force beat format.
In 2003, the album was ranked number 152 on Rolling Stone magazine’s list of the 500 greatest albums of all time.