Posted 10:07 pm Tuesday, July 31, 2012
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Talking Heads Classic Is More Than Just Talk
By JEREMY SCOTT
jscott@tylerpaper.com
When the energy of an amazing stage show comes across on an album, it feels like lightning in a bottle.
jscott@tylerpaper.com
When the energy of an amazing stage show comes across on an album, it feels like lightning in a bottle.
So much can go wrong. Was the band's performance up to par? Was the mix right? How were the acoustics? What about the intangible — that fleeting vibe that just isn't there every time?
Recorded and filmed over three nights at Hollywood's Pantages Theater in 1983 and directed by Jonathan Demme, Talking Heads' “Stop Making Sense” creates musical magic.
Recorded and filmed over three nights at Hollywood's Pantages Theater in 1983 and directed by Jonathan Demme, Talking Heads' “Stop Making Sense” creates musical magic.
The album was originally released with only eight tracks of the 16 included in the film of the same name. In 1999, to commemorate the concert's 15th anniversary, the work was re-released with the missing songs.
Why re-release a concert album after 15 years? Because this is a piece of art to be celebrated.
1980s New Wave-Funk fusion innovators, Talking Heads are in their prime in these performances, showing off their uniquely eclectic and intricate style.
Why re-release a concert album after 15 years? Because this is a piece of art to be celebrated.
1980s New Wave-Funk fusion innovators, Talking Heads are in their prime in these performances, showing off their uniquely eclectic and intricate style.
The concert begins with the understated and eerie “Psycho Killer.” Front-man David Byrne tackles this track solo.
“Hi. I've got a tape I want to play,” Byrne says.
His “tape” is of a drum machine track that seems to play over a boombox. Byrne's voice and intense acoustic guitar strumming provide the rest.
“Hi. I've got a tape I want to play,” Byrne says.
His “tape” is of a drum machine track that seems to play over a boombox. Byrne's voice and intense acoustic guitar strumming provide the rest.
Next, bassist Tina Weymouth joins Byrne for the duet “Heaven.” The combination of bass, acoustic guitar, Byrne's vocals and the backup harmonies (which seem to emanate from backstage, if you watch the concert) are beautiful.
The duo is then joined by drummer Chris Frantz for “Thank You for Sending Me an Angel.”
Pieces of the band continue to be added in this fashion, creating a bigger sound each go-round, reaching full strength with “Burning Down the House,” when nine musicians are on stage, nearly halfway through the concert.
The overwhelming energy produced by the entire band is baffling. Group members literally dance on stage while playing their instruments. Byrne gyrates his slight frame to the beat so incessantly, viewers of the concert footage may worry for his health.
The concert itself is a spectacle worth seeing. When you witness the band in action, Byrne's odd musical motifs and the synthesizer-heavy melodies are much easier to appreciate.
The music has a distinctly “1980s” sound, but keep in mind, these are the innovators, not the imitators (to paraphrase the band My Morning Jacket's “Wordless Chorus.”)
Talking Heads are hard to classify musically, which is perhaps why they have so many labels thrown at them: New Wave, Post-Punk, Funk, Experimental, World Music. All of those apply, and yet none of them do.
Stop trying to make sense out it and enjoy the music.
The duo is then joined by drummer Chris Frantz for “Thank You for Sending Me an Angel.”
Pieces of the band continue to be added in this fashion, creating a bigger sound each go-round, reaching full strength with “Burning Down the House,” when nine musicians are on stage, nearly halfway through the concert.
The overwhelming energy produced by the entire band is baffling. Group members literally dance on stage while playing their instruments. Byrne gyrates his slight frame to the beat so incessantly, viewers of the concert footage may worry for his health.
The concert itself is a spectacle worth seeing. When you witness the band in action, Byrne's odd musical motifs and the synthesizer-heavy melodies are much easier to appreciate.
The music has a distinctly “1980s” sound, but keep in mind, these are the innovators, not the imitators (to paraphrase the band My Morning Jacket's “Wordless Chorus.”)
Talking Heads are hard to classify musically, which is perhaps why they have so many labels thrown at them: New Wave, Post-Punk, Funk, Experimental, World Music. All of those apply, and yet none of them do.
Stop trying to make sense out it and enjoy the music.
