Cindy Wilson

Cindy Wilson

Cindy Wilson is a vocalist, songwriter and a founding member of new wave rock band The B-52s. She is currently producing solo work and performing a new show called "Change".

The B-52's

The B-52's were formed in 1976. Cindy Wilson, her older brother and guitarist Ricky Wilson, organist and vocalist Kate Pierson, drummer and percussionist Keith Strickland, and vocalist Fred Schneider played an impromptu musical jam session after sharing a tropical Flaming Volcano drink at a local Chinese restaurant. They later played their first concert in 1977 at a Valentine's Day party for their friends. Cindy Wilson and the others broke into the music world with their campy, '60s retro band. Their 1979 debut album The B-52's, yielded the hit singles "Rock Lobster" and "Planet Claire" and launched the band into stardom.

The 1980s and 1990s

On April 21, 1985, Cindy Wilson married Keith Bennett, a successful advertiser who was a longtime friend of the band and Ricky's guitar tech on tour. Ricky Wilson died later that year, leaving her devastated. Cindy Wilson took a sabbatical from the band in 1990 to concentrate on raising a family. Wilson rejoined The B-52's in 1994. In 1998 she took part in recordings from which two new songs were selected to be included along with the band's hit singles on the album Time Capsule: Songs for a Future Generation. Wilson then took maternity leave in 1999, later rejoining the band in 2001 for regular touring of their greatest hits.
More B-52s

The B-52's completed the album Funplex in 2007 and it was released in March 2008. Wilson co-wrote every song on the album with the three other band members. In all, she has co-written much of the band's back catalogue, including "Dance This Mess Around", "Private Idaho" and all of the Cosmic Thing album including hit singles "Love Shack" and "Roam". Her vocal efforts include the typical B-52's "call-and-response" vocals with Schneider and/or Pierson, as well as her harmonies with Pierson on the band's all-female songs such as "Roam", "52 Girls", "Cake", "Legal Tender", "Summer of Love" and "Juliet of the Spirits". One of the band's signature elements is the setup between the three vocalists. However, Wilson sings the greatest number of solo performances in the band, especially on their earlier albums. Examples of Cindy's solo vocal performances in The B-52's include "Hero Worship", "Loveland", "Nip It in the Bud", "Girl from Ipanema Goes to Greenland", "Ain't It a Shame", "She Brakes for Rainbows" and the live favorite "Give Me Back My Man".

Cindy's Current Musical Work

In September 2016 Cindy Wilson released a limited edition "Sunrise" EP of newly produced material and announced an upcoming release of the already completed full-length "Change". Her group includes producer / engineer Suny Lyons (pacificUV, Dream Boat, Phosphorescent, Hope For Agoldensummer, Honeychild, Lovers), Ryan Monahan (Easter Island, Monahan), Lemuel Hayes (pacificUV) and Marie Davon (powerkompany). In Cindy's latest show, "Change" (also her upcoming album title), she swoons and whispers over swirls of subtle psychedelia, pulsing synths, disco strings and dance beats while video projections gyrate behind the band and lush ambience ties each song seamlessly to the next. As of Fall 2016 Cindy is performing "Change" in the continental USA.

Olivia Jean

Bathtub Love Killings is the debut solo LP from Olivia Jean, the multi-instrumentalist who cut her teeth in the Third Man stable backing folks as varied as Karen Elson, Wanda Jackson and Jack White in addition to fronting the much-loved Black Belles. Jean has accrued a lifetime of experience in a few short years, from highlight performances on The Colbert Report, Conan, Late Show With David Letterman and the Grand Old Opry stage to having one of her songs used as the theme for the television series Elvira’s Movie Macabre. Produced by Jack White, Bathtub Love Killings showcases Jean as a songwriting force to be reckoned with. Playing damn-near every instrument she could get her hands on, the result is a well-rounded, catchy record that’s chockfull of ear worm moments.

Sarah Jaffe is set to embark on the next chapter of a career a decade in the making with her 2017 release Bad Baby. An exercise in collaboration and artistic confrontation, Bad Baby’s origin story is rooted in willed, hard won conception. BadBaby took time and it took work, like all good things.

“The period of time leading up to this album was a pretty dark one where I was creatively complacent and a time I wasn’t moving forward until I got, truly, the most impactful advice I’ve ever received,” Jaffe recounts from her home in Dallas, Texas. “The gist was basically — ‘You’re not 19 anymore and songs aren’t just going to come to you. There’s no muse, it’s work’ — I knew this already, but I suppose I was ready to hear it because a light bulb went off.”

“I didn’t have any inspiration because I was just waiting for it, which was kind of bullshit,” Jaffe deadpans.
This isn’t to say there weren’t plenty of moments of muse. Behind the mic on Jimmy Kimmel Live! or supporting such celebrated artists as Cyndi Lauper, Norah Jones, Chelsea Wolfe, Midlake and Metric; on international stages and in front of faithful Texas crowds — Jaffe would start to make the connections that bring us to her most recent evolution.

An important point of connection and a clear line to the venturesome tone of Bad Baby leads directly to Jaffe’s collaborative project The Dividends. The Dividends, the pairing of Jaffe with S1, a Grammy Award-winning producer known for his work with Jay Z, Beyoncé and Kanye West, saw her stepping outside of her comfort zone to satisfying new ends. Describing their meeting Jaffe recalls, “We bonded immediately. I met S1 while working with Erykah Badu's band The Cannabinoids on a remix. He asked me if I wanted to write some hip hop hooks together and Eminemended up picking up one of our tracks six months later.”

“I had written for other artists before but that experience was really solidifying and I think the influence leaked into my own writing.” The bug for collaboration didn’t stop there and Jaffe has also gone on to score film projects with Pixar and Oculus.

When it came time to put the focus on her own work, Jaffe turned to an inner circle of musicians who helped shape what was forming and lend their influence and perspective. Produced by Matt Pence with co-producing credits from Jaffe and Scott Soller (Okkervil River, The Mountain Goats, John Vanderslice), the songs on Bad Baby reflect the range of influences Jaffe has been drawing from of late, condensing them into her smartest and most effervescent output so far.

“Synthetic Love,” defines a tone for what will clearly be a personal journey — lyrically vulnerable and sonically complex — the album begins with a love letter to the art and the artist and a permission slip leading us to the more surprising places the album may travel. In the album’s title track “Bad Baby,” our protagonist finds a catchy way to stand her ground in the metaphor, a recurring theme in an album that asks as many questions as it answers.

Jaffe’s wit and philosophical leanings intersect in a bright final moment transitioning from “Manifestations” to “Shit Show” — apt, since Jaffe has built a world that relies on subverting expectation.

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