Archive | April, 2021

Field Music – Flat White Moon

Tags: ,

Field Music – Flat White Moon

Posted on 27 April 2021 by Joe

With coronavirus lockdown in the UK easing, it’s time to meet old friends once again. There’s some trepidation, fiddling with apps in a pub garden to get served and remembering how to hold a conversation. But above all though there’s a sense of optimism around the country, that Covid-19 will no longer dominate our lives.

Among the old friends we can once again join up with is Peter and David Brewis & co, aka Field Music.

They have a new album out. Flat White Moon. And its among their best yet.

The Sunderland band have long been inventive with pop. Prince one minute, King Crimson the next. Or was it Talking Heads I just heard? Or XTC?

Above all they are like a UK version of Medications, the US band whose quirky, jerky style adorns all the Brewis’ albums.

Flat White Moon is among their most Medications-y yet. The short songs of two to three minutes, veer this way and that. They pack so much into each track.

Opener Orion From the Street sounds like a pop band floating down a river. Do Me A Favour brings the acoustic guitar out. Reminiscient of  Them That Do Nothing, from their 2010 album Measure.

There’s plenty more to like across the 12 tracks.

The bass and vocal arrangement on Not When You’re In Love is a treat. The Medications riff that opens Out of the Frame and rhythm of No Pressure, other high points.

Meant to Be’s prog-rock guitar a joy.  Proceedings end with You Get Better. Oh, how I wish Prince was still alive to hear this.

It’s perhaps also their most uplifting album yet.


by Joe Lepper




Comments (0)

The B-52s – Funplex (2008)


The B-52s – Funplex (2008)

Posted on 19 April 2021 by Joe

After 1992’s Good Stuff, 16 years were to pass before the B-52s’ next and as it has transpired, most recent album release, Funplex.

Since their last album they scored a hit with the theme tune to the Flintstones movie in 1994 and Cindy rejoined them two years later.

But they were firmly entering heritage rock territory on the live circuit having formed in the 1970s. A succession of compilations, gigs and TV appearances kept them busy. In 2004 and 2006 they opened for Cher and the Rolling Stones respectively.

Eventually they decided to record again, as a quartet, and so Funplex was born in what Strickland referred to as “loud, sexy rock and roll”.

Producer Steve Osbourne was brought in, based on his helming of Get Ready by New Order.

So how did they do for what is currently their final album?

Commercially it only just broke even, despite being their second highest charting B-52s album in the US.

Artistically it features one of the worst album covers of all time. An excuse for Fred and Keith to show what buff boomers they are? Also, they dropped the apostrophe.

But its actually pretty good.

Opener Pump is essentially Love Shack reworked. Although, it is great to hear Fred, Cindy and Kate together for the first time since the 1980s.

Musically much veers between dad rock and smart electro rock, especially on Hot Corner, Ultraviolet and the title track.

Fellini film inspired Juliet Of The Spirits is a welcome high point. Strong pop. Cindy on top form. It sounds great and would have been a welcome addition to many of their previous album releases.

I’m relatively new to Funplex and given the awful cover I expected it to be worse but in Juliet of the Spirits, Love In the Year 3000 and Too Much To Think About there is some good stuff here.

What of the B-52s now? They are still touring as a three-piece with Fred, Cindy and Kate.

Keith is now their Brian Wilson or sorts, having retired from touring but still part of the band when recording . He is also available when special appearances are needed. It looks like he has found the “essence from within” that he sought on 1983’s Whammy.

Kate runs some interesting looking glamping holiday retreats and lodges with her wife.

Cindy has worked on solo projects including the excellent synth pop album Change in 2017.

Meanwhile, Fred still lives in New York and occasionally works with his side project The Superions.

That’s the B-52s immersion on Neonfiller complete. What a fantastic career and wonderful album run they’ve had.

by Joe Lepper


Comments (0)

The B-52’s – Good Stuff (1992)


The B-52’s – Good Stuff (1992)

Posted on 12 April 2021 by Joe

We resume our album-by-album The B-52’s retrospective with a look at Good Stuff, their 1992 follow up to the huge success of Cosmic Thing.

This was at a time when singer Cindy Wilson decided to take a break from the band and they were carrying on as trio of Fred Schneider, Keith Strickland and Kate Pierson.

Live Julee Cruise replaced Cindy Wilson. A fine stand in, but there’s only one Cindy Wilson with her unique southern states emotional style of singing. It is their only album not to feature Cindy.

Despite their obvious mainstream appeal, they were still being pigeonholed as ‘New Wave’ and ‘alternative’. Incidentally, Good Stuff was nominated for a best alternative album Grammy – eventually losing out to Tom Waits’ Bone Machine.

Cindy, Kate and Fred work perfectly as vocalists. But take one away and its not the same. Therein lies the problem with Good Stuff.

The Tracks

Tell It Live It T-I-Is is bland rock and roll, although Kate’s vocals are great. Hot Pants Explosion is just plain stupid, rather than cool-stupid.

As with their previous album Nile Rodgers and Don Was once again share half the tracks each and the title track is perfect for one of their own albums but falls flat here.

There’s a bit of politics (to be said in a Ben Elton 80s voice) here referencing their own activism, on gay rights, Aids awareness and the environment. Revolution Earth sums this up and ends up being the highlight. Great melody and Pierson again excels. How good would this have been with Cindy too!?

The same can be said of Dreamland. It clocks in at more than seven minutes and sounds great, featuring Strickland’s increasing influences of Buddhism and meditation. Turns out his was a hippy all along. Also, Pierson carries its trance like funk along well. Once again, with Cindy involved this could have been one of The B-52’s career highlights.  

For Pierson fans this album is a must. Vision of a Kiss features another strong  Kate performance, as does Breezin’.

There’s a nod to their earlier days with live favourite Is That You Mo Dean? given a run out. Ends up a bit of a filler track though.

Despite some less than stellar offerings, there’s a lot to like here, some great songs and its got a nice laid back feel to it too.

But without Cindy Wilson there’s a vital cog to their machine missing.

By Joe Lepper


Comments (0)

The B-52’s – Bouncing off the Satellites (1986)


The B-52’s – Bouncing off the Satellites (1986)

Posted on 05 April 2021 by Joe

Here’s the sad part. Not the next B-52’s album – Bouncing off the Satellites – that we are focusing on over recent weeks.  That’s full of excellent tracks. It’s the story behind it.

Guitarist Ricky Wilson tragically died after the album was completed and prior to its release.

He was one of the many young brilliant men that succumbed to Aids during the 1980s. His guitar playing and song writing were becoming more assured. He had already invented his own tuning and riffed his way through the previous decade or so. But it was to be no more.

Bouncing off the Satellites was in the can and it is full of commercially pop savvy numbers, including upbeat tracks moving into the realms of dance and club music with Girl from Impanema Goes to Greenland, Summer of Love and the ridiculously silly Wig.

Tony Mansfield was on production duties for this one. That may explain why it sounds so radio friendly for a mid to late 80s audience. His credits include Aha’s Hunting High and Low.

But with the band too shocked to tour and promotional appearances limited it failed to make an impact on the charts or the media. According to Pierson, Wilson even kept his illness secret from his band mates. They pretty much disappeared as a band, with Ricky’s sister Cindy particularly affected. They would not come back together for another two years.

This was the first B-52’s album I bought when it came out and it will always be tinged with sadness due to Wilson’s death.

It’s almost as if the songs become sadder knowing about his death. But there are also some beautiful ballads on here, which are the ones I still listen to most regularly.


Ain’t it a Shame is a beautifully sad Cindy Wilson number, co-written with her brother and drummer Keith Strickland.

Coincidentally another of my other favourites is She Brakes for Rainbows, also featuring Strickland on writing duties, this time with just Ricky.

The band will need Strickland’s increasingly strong ear for a good tune when they convene again for their next release.

Elsewhere on the album, Theme for a Nude Beach is stupid but strong and I have a soft spot for Detour Thru Your Mind.

The fillers are from Pierson and Schneider respectively, who supplied solo tracks they’d been working on. Of the two Pierson’s Housework is the best. Schneider’s Juicy Jungle feels a little out of place – too solo.

There is some strong music here and makes me wonder what would have become of the band if Ricky was still alive.

**Cindy and her son Nolan recently shared this wonderful clip of them playing She Brakes For Rainbows in her living room from last year. This is one of the great comments that sums up her singing style – “I love the place Cindy goes to as she sings”. I think she always thinks of Ricky when she sings this.**

By Joe Lepper


Comments (0)

Advertise Here

Photos from our Flickr stream

See all photos

Advertise Here