Genre:Alternative When Talking Heads screamed onto our planet of ears, you would have thought music had just landed "arse up". Remember, 1977 was a land of Disco & Love Ballads and not forgetting the bastard offspring "Punk". New Wave was around the corner, so WTF was Talking Heads all about then? Well as luck would have it, Talking heads was the Timelords missing link between Punk & New Wave.... sort of like a "marriage made in rock's heaven" or "Sid Vicious holds hands with Lou Reed". If you think that's confusing, try and understand this gem of a chart for Genealogy Of Music. (Ai yi yi) Now if only they can figure who Rap is related to (OK ... who yelled out Sesame Street ! ???)
For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.
art by ST4TIK
After its release, Talking Heads were put on "hiatus"; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Five years later, the original lineup minus Byrne reunited as the Heads for the album No Talking Just Head. Then in 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense. ~ [Stephen Thomas Erlewine, All Music Guide]
For Modern Lovers see Number 994
For Lou Reed see Number 918 & Number 953
What does Rolling Stone think about Talking Heads?
Talking Heads are the last of CBGB's original Big Four to record (following Patti Smith, the Ramones and Television), and their debut is an absolute triumph. Dressing like a quartet of Young Republicans, playing courteously toned-down music and singing lyrics lauding civil servants, parents and college, Talking Heads are not even remotely punks. Rather, they are the great Ivy League hope of pop music. I can't recall when I last heard such a vital, imaginatively tuneful album. David Byrne's music is refreshing, abundantly varied and fun to listen to. He takes the buoyant, post-Beatles singles format of the Sixties—brisk pacing, great hooks, crisp playing, bright production—and impulsively veers off on unexpected tangents that are challenging without becoming inaccessible.
Vocally, Byrne's live-wired personality vibrates his precise musical framework like a caged tiger rattling its bars. (That he sings in a stiff, reedy, "bad" voice, grasping for higher notes like a drowning man lunging for air, only heightens the drama.) Exploring the logic and disorientation of love, decision making, ambition and the need for selfishness, he gropes for articulation like a metaphysician having difficulty computing emotions. Given his relatively unlyrical nature, Byrne's burgeoning persona is not in the least tentative. "No Compassion" asserts all the impatience of Lou Reed in a bad mood, while "Psycho Killer" pulses with vehemence.
For Randy Newman see Number 958
For the Beatles see Number 947, 894 & 587
For Rolling Stones see Number 767 & Number 689
Labels: Talking Heads 533