I began listening to Taking Heads in late June 2022. That's what this page is about.
Talking Heads: 77 (1977): A- [Originally: B+]
More Songs About Buildings and Food (1978): A-
Fear of Music (1979): A-
Remain in Light (1980): A+
The Name of this Band Is Talking Heads (1982): B+
Speaking in Tongues (1983): B+ [Originally: B]
Little Creatures (1985): B+
True Stories (1986): B+
Naked (1988): B+
Talking Heads: 77 (1977):
Performing as a trio for the first two years of their existence, the band settled on a sound that emphasized groove. Musically, it’s their greatest asset. Even on lesser songwriting efforts such as "New Feeling," the rhythm section is killing it, especially Weymouth. More than the rhythm section, however, it's Byrne's strange cadence and his free verse lyrics that take center stage. Though I admire his original and jumpy writing, there's something left to be longing when the songs bring so much attention to the lyrics and all Bryne has to say is "I've been to college/And I've been to school/I've met the people that you read about in books" and "Such a happy day for me/Bring that happy day to me/Send that happy day to me/And that happy day came to me." Because this band's artistic aspirations are stratospheres beyond the Ramones (whose simple lyrics were also tongue-in-cheek), his lyrics lose much of humor that they might have otherwise been afforded. Thus, I'm hoping Bryne's lyrics either get more thematic or intentionally funny. He already proved the world of difference the former can make on two of the album's greatest triumphs: "No Compassion" and "Don't Worry About the Government." A-
Because their debut showcased a weirdness that need to be refined not scaled back, I'm upset that the fuller sound and more traditional melodies divert so much away attention from David Bryne. Before I hoped that lyrics so upfront would become more colorful or thematic or funny; on this album, I barely notice their content (which might be for the best because, as the album title suggests, Byrne's favorite subjects haven't seen a shift). Nevertheless, the band's collaboration with the famed producer has resulted in a much more satisfying album altogether. From the synthesizers provided by Eno to a little country influence to a surprisingly great soul cover, More Songs harbors mostly great tracks that see them expanding their parameters and succeeding with ease. A-
Fear of Music (1979):
Though I was initially turned off by the complex, intricate music and songs with simple one word titles like "Cities," "Paper," and "Animals"--both strong indicators that a band is taking themselves too seriously (and that is a somewhat the case here)--I've found myself warming up to even the most icy melodies and grooving to even the most syncopated rhythms. I'm also pleased to find Bryne's lyrics becoming more thematic. Many are dystopian satires like "Life During Wartime," which is apparently about living in New York City. As for his weird subjects, well, I've read enough of Byrne's lyrics by now to start chuckling at entire songs that warn about the dangers of air--careful, it can break your heart!--or that obsess over rays of light. So far, I'd rank it as their least effort, but if Fear of Music turns out like their first two, this one will only continue to grow on me. A-
Remain in Light (1980):
While Talking Heads continue to master studio techniques by adding layers upon layers of guitars, synthesizers, and vocals to their songs, the increased influence from African music adds just enough warmth to open up the complex rhythms that they began creating on Fear of Music. Meanwhile, Byrne's lyrics see remarkable growth as he expands on previous topics to further explore themes of politics, paranoia, and existentialism. He skillfully obscures the line between the oppressor and oppressed on the opener, brings a character similar to "Psycho Killer" to life on the blood-curdling "Seen and Not Seen" (their first hit always portrayed a pretty limp cardboard cut-out of a murdering maniac, didn't it?), and writes his greatest lyric, the masterful and inspiring "Once in a Lifetime." Though many consider "Once in a Lifetime" to be the triumph of Talking Heads' career, "The Great Curve" is nearly as powerful with its fast pace, the choir of vocals, and the synthesized guitar solos that combine to bring side one to an explosive end. That said, one reason why this is one of the most extraordinary albums ever is because every song is its own masterpiece, beautifully constructed and light-years beyond what anyone else was doing at the time. A+
The Name of this Band Is Talking Heads (1982):
The first LP of this live double album showcases the band's early days, recorded between 1977 to 1979, while the second LP was recorded in 1980 and 1981 when the band toured to support Remain in Light. For the second LP and under the advice of Brian Eno, they expanded their band to a ten-piece lineup in order to perform the complex music they recently recorded. For some of it, I don’t even admire the attempt--it's ridiculous that they even tried to capture "The Great Curve" and "Take Me to the River" in all their studio complexities on stage. The first LP establishes the band as a fantastic live act. The first side of LP two sees them working brilliantly with the expanded band. On side four, they should have grasped the limitations of live music. B+
Speaking in Tongues (1983):
How funny that I originally complained of the "cheesy sounds" produced by the synths. This band is decidedly silly and I'm glad after the very serious Remain in Light that they put their name on such a project. No, it's not as consistent as their previous projects but it does have strong highs and even the strangest songs become earworms anyway. Plus, the album ends with one of their greatest songs ever: "This Must Be the Place." B+
Little Creatures (1985):
For the first time in their career, they simplify. In addition to the band going for a more stripped-down new wave sound, Byrne also shifts to more pop-oriented songwriting. As much as Byrne might try to write a traditional pop song, his lyrics always come out pretty weird--check out the hilarious "Stay Up Late." Though the music is obviously more straightforward than their polyrhythms, listen closely and there's still a lot of interesting playing going on. I'm a little hesitant to place it on the same level as their first three efforts as I'm reviewing this, but it's easily better than Speaking in Tongues and it's far from a disappointment. B+
True Stories (1986):
Though it doesn't have as many stand-outs as Little Creatures, True Stories is once again a great collection of tunes from Talking Heads. It's still a bit weird to hear the band playing straightforward rock music and though that makes it feel like one of their least significant releases, there's an underlying warmth to this album that makes this quite unique in their discography. B+
Naked (1988):
I'm glad to see Talking Heads wrapping up their discography just as they started: eclectic, excellent, and weird. Same as they ever were. (Ain't that a perfect streak?) B+
