Although the B-52’s are known as one of the bands that initially put Athens, Georgia, on the map, Kate Pierson was actually born in New Jersey. She also spent time in Illinois, Boston, and even Europe before landing in Athens in the mid-’70s. There, she became friends with the other members of the B-52’s. The band’s lineup included Pierson, Cindy Wilson, and Fred Schneider on vocals; Ricky Wilson (Cindy’s brother) on lead guitar; and Keith Strickland on drums and other instruments. Sadly, Ricky Wilson died of AIDS in 1985. Aside from that, however, the band’s lineup has not changed.
With their ’50s kitsch-inspired image and songs like “Rock Lobster” and “Private Idaho” —which were simultaneously infectious and experimental—the B-52’s became a hit on the burgeoning New Wave scene of the early ’80s. Wilson’s death sidelined them for a while, but they rebounded in 1989 with the album Cosmic Thing. That became their biggest seller yet on the strength of the massive hits “Love Shack” and “Roam.” Pierson’s extracurricular activities over the years have included singing with Iggy Pop on “Candy” and with REM on “Shiny Happy People.”
Pierson released Radios & Rainbows (which is only her second solo effort!) in September. A winning collection of 12 songs, this album finds her working with the Australian pop star Sia and prolific songwriter Chris Braide, among others. Songs like “Every Day Is Halloween” and the opener, “Evil Love,” take fun approaches to somewhat dark themes. “The Beauty of It All” and “Higher Place,” meanwhile, are more straightforward love songs. “Living in a Monet” (the one cover on the album) is fun and funky while “Always Till Now” is a laundromat love story with chiming guitars.
I recently had the pleasure of talking with Kate Pierson for BUST.
Tell me a little about the title track. I noticed it’s [placed] dead center on the album. What actually inspired Radios & Rainbows?
Well, I guess because I had [the album] Guitars and Microphones first, I thought this was a good way to kind of connect the two records. I love the title. [And] I just felt like this was a really solid song. It’s uplifting but it has political overtones.
I wrote the song with Chris Braide. He thought of that title and then [the song] just poured out. Usually, the musicians I collaborate with do the instrumentation. Sometimes there’s some collaboration on the lyrics and stuff. But this time he just mentioned the title and boom! I went from there.
I also wanted to ask you—because this piece will probably come out in October—to tell me about “Every Day is Halloween.”
I love that song! It was so much fun to get into the character and do the video. That’s the first song I wrote [in] the writing session with Sia and Sam Dixon.
It was rattling around in my head; I had the title and I had some lyrics. And then when we jammed on it with Sia, it just sort of evolved. I’ve always loved B movies, horror movies, and outer space movies. But also, “Every day is Halloween” is a phrase I’ve heard some drag queens say. And in my life with the B-52’s, I feel like every day is like makeup and outfits and dressing up. So when it actually comes to Halloween, I’m like, “Oh my God!” I have an outfit for every occasion.
But to me, [the song is] about a ghost. It’s sort of a feminist ghost story.
I didn’t know until recently that “Rock Lobster” was the song that inspired John Lennon to start making music again (in the late ’70s)! What must that have felt like?
Well, first of all, the B-52’s have always been fans of Yoko as well. [She does an amazing Yoko impersonation!] The sound Cindy does at the end of “Rock Lobster” is directly from Yoko. Her ability to just unchain her voice into an emotional hurricane—[that] always impressed us. And of course, her songs are great too.
I mean, to hear John Lennon, who’s an absolute hero! In high school, he was my favorite Beatle. [So] it was mind-blowing to have [him] mention us.
Was it ever difficult in the B-52’s having two female vocalists?
I think it was easier having two women vocalists than having three vocalists. I mean, we had to sort of play around with Fred’s unique vocal style. As I said, we wrote by jamming. We had to [let] each person have their space. Fred frequently did a narrative and Cindy and I would do these harmonies around them. But we’d also trade off verse parts. So each song was kind of different. It was hard writing collectively and jamming—and then finding all these pieces and being able to interlock three vocals. But we did it!
Cindy and I—our harmonies were never thought out. You know, they just happened during the jam. And our voices just happened to lock together so beautifully.
I [also wanted to] ask you what it was like working with Iggy Pop on the song “Candy.”
It was great! Of course, he produced half of Cosmic Thing. And he was also producing [his solo album] Brick By Brick [at the time]. But it was so easy. Iggy was completely chill. He said, “Just sing whatever you want. You can change the lyric [or] the verse.” You know, I did a couple of takes and our voices went together great.
Will you be touring [behind the new album] at some point?
I’ve done one solo show [so far] at the Cape Cod Jazz & Arts Festival, and it was so much fun. I’ve been working with Ken Maiuri from the B-52’s band and Tracy Wormworth, who’s been with [us] since Cosmic Thing. Great bass player! [She’s] amazing!
I’m gonna do more live shows [but] they may not be until after Christmas. December’s out, according to our manager. We have a lot going on with our B-52’s shows in October and November. We’re also playing Athens, Georgia, in December. [But] I’m really looking forward to doing shows and bringing these songs alive. My creativity is officially fully open!
Bottom Two Images and Top: COURTESY OF SUZANNE KREITER/THE BOSTON GLOBE VIA GETTY IMAGES
