Talking Heads
Early in 1976, RISD students, Talking Heads (David Byrne, Chris Frantz and Tina Weymouth), made their first demo,
recording "Psycho Killer," "First Week, Last Week/Carefree" and "Artists Only" for Beserkeley Records. The result, completed with a live version of "1,2,3 Red Light" (which didn't surface as a bootleg EP until the early eighties), revealed the
group to have had a simple, eclectic charm that was vanishing by the time they made
their first LP. Later demo sessions followed in the summer of '76, and in
November, the group signed with Sire Records - home of the Ramones and the Flamin'
Groovies. In December, the three-piece line-up recorded its first
single, "Love Goes To Buildings On Fire"/"New Feeling" - issued early in the new year. Neither track has appeared on a Talking Heads LP, although "New
Feeling" was re-cut for the debut album, and the A-side was included on Sire's New Wave Sampler. By the time the single was released, Talking Heads had
become a four-piece. Jerry Harrison, guitarist in the original Modern Lovers
behind Jonathan Richman, had been recommended to the group; after a couple of
trial gigs late in 1976, he agreed to join the band as soon as his other
commitments were fulfilled.
In April, the foursome began recording their first LP, which
was completed in July after a series of gigs in Europe. Talking Heads 77 was issued in September 1977 in the States, a
month later in the U.K. The album was a minor triumph. While other New York
acts concentrated on getting across their emotions with raw power, Talking
Heads made gentle, almost placid music, saving their killer punch for the
lyrics.
For my father, it was one of the simplest billboards he had
ever painted; simply a red orange background with yellow letters 4½ feet high
that said "Talking Heads 77." As an Angeleno, and just a kid at the time, I had
no exposure to the New York Scene at CBGBs – no Blondie, no Ramones, no Talking
Heads. L.A. was about jazz and a lighter, more accessible rock (Weather Report, The Eagles, Fleetwood Mac and
Steely Dan, and the myriad of amazing music from an amazing year), and somehow it glossed over the New York scene. Conversely London's new wave, from
Elvis Costello and Joe Jackson to the Clash made it to the clubs. Out of it
would come L.A. punk, with New York playing little role in L.A.'s evolution.
Talking Heads were the exception.
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| Talking Heads at the Factory, 1977 |
The Heads' sophomore effort saw the first of their production/collaborations with Brian Eno, who adds a smoothness and depth to the angular and jerky-yet-machinistic moves from the Heads' practica, while Byrne's songwriting starts to merge with the growing atmospheric sensibilities that would emerge as this creative partnership evolved. Here Byrne's lyrics enhance their look at a dark world, a pattern that would grow to overwhelming levels on the subsequent two albums. I can't tell you how many times I listened to this album in my youth. Good to the last drop. Their masterpiece? Perhaps. Indispensable? You know it. Another side of the seventies; 40 years ago.
"What are you painting?" I asked him. He never knew.
"It says, 'Talking Heads '77'." He didn't know Elton John, he surely wouldn't have known Talking Heads. Nor did I, but he took me to Tower Records and I bought it with birthday money; a cassette. He took me to Ben Frank's. I had a chili-size and a chocolate Coke. He had breakfast. - From Jay and the Americans
