*The Name Of This Band Is Talking Heads- 1982*
Rating: 15
The band in this review is "Talking Heads", and that's what it's about.
Best Song: Born Under Punches (The Heat Goes On)
Worst Song: Maybe the second version of "Psycho Killer" or "Stay Hungry", but only because they were already on the first disc of this album. They're both pretty great.
I have to agree that this is the finest Talking Heads release. For me, essentially every track offers something, sounds great, and has so much energy that was lacking on, say, Speaking In Tongues or even Fear Of Music (as good as both of them are, especially the latter). I would go through every single track, but considering the CD version is 33 songs long (30-31 if you don't count the repeats; 31 if you think the version of "Drugs" is different enough from "Electricity"), I've decided to go a different route.
I've narrowed down ten (well, eleven technically) songs that I think are fantastic, and really show the strength of this live album. There's no particular order; they're all equally awesome and memorable. So, let's begin.
New Feeling/A Clean Break (Let's Work)
I've decided to lump these two together, considering they (appear to) go into each other, and because they are the tracks that start off the disk. I love how Byrne introduces "New Feeling" by saying, "the name of this song is 'New Feeling', and that's what it's about." It's short, and the only instance of banter from Byrne, but it's surprisingly amusing.
"New Feeling" is incredibly tight, and features some insane Byrne vocals that shine through here better than they did on the album. Part of this could be pinned on the improved production and great sound that the Talking Heads have live. However, as good as "New Feeling" is, the unreleased "A Clean Break (Let's Work)" deserves the most praise in this case. The groove is excellent, the Byrne chanting in the middle of the song is silly yet super catchy and fitting, and the song is a complete success. I have no idea why it wasn't on an actual Talking Heads album.
Psycho Killer (1st Version)
Once again, the production and energy wins out. Byrne belts the lyrics, and the band seems to be completely into this song. The first version on the album, in my opinion, has a lot more enthusiasm (on Byrne's part) that the second version sort of lacks, but they're both great tracks. Honestly, I prefer this to the studio counterpart.
The Big Country
This was never one of my favorite Talking Heads songs, but this marks one of the few songs that improved significantly from the studio version. While I thought the one on More Songs About Buildings And Food was fine, "The Big Country" shines quite a bit here. It all comes down to the solid drumming, the impact of each note, and, as usual, Byrne's ability to captivate the listener by singing with passion. "The Big Country" is not one of the best tracks, but it is notable for the huge improvement over the original.
Love → Building on Fire
This song was released as a single, and, until recently, I didn't own this song in any other form. Regardless, this version sounds a little less dated than the single, and has Byrne at his most ridiculous and fun. The way he yells out, "TWEET TWEET TWEET TWEET TWEET TWEET TWEET TWEET TWEET LIKE LOVE BIRDS!" is hilarious, but hey, he sincerely does yell them out! He's even got this odd segment around 1:15 (after the second chorus), where he is laughing in the strangest manner. It's a fun, nonsensical, and catchy song.
Memories (Can't Wait)
While I appreciate this song on Fear Of Music, this live edition is highly superior, especially during the ending segment. I think the production of Fear Of Music made this song very claustrophobic and a little uncomfortable on the album, but here, they manage to capture that feeling without being unpleasant and maintaining that tight energy. Plus, hearing David Byrne screaming out nonsense at the very conclusion of the song (as voice seems to crack on the word "these") is effortlessly entertaining.
Heaven
The song is slowed down a tiny bit here, but I think that works a little better. While the point of the song is to be a little monotonous (not in a bad way!), and I think the instrumentation does that fine, I love how Byrne adds character to his vocals. The way he accentuates the word "exactly" in the third verse, and the way he starts to belt out the lyrics in that same verse, just make the song more enjoyable. Instead of feeling like Byrne was going along with the monotonous place where "nothing ever happens", the song takes on the form that Byrne is, instead, trying to escape, but is trapped there, doomed to do nothing and do the same things over and over. That was probably way too depressing for a Talking Heads review.
Cities
The beginning of this song is excellent (with the build-up to whenever Byrne decides to come in), but what makes "Cities" is, as usual, David Byrne. He alters his tone and inflections only slightly, but they're endlessly entertaining. The extra verse added in this version, with Byrne basically screaming out things and his vocal cords seeming to strain and jump; all of it combines to make possibly the most Byrne-istic song of them all.
It comes to the point where Byrne stops singing certain parts of the chorus, only to shout noises or make his voice crack. At the same time, this blaring Adrian Belew guitar plays behind it, and it's an insane, yet brilliant, compliment to whatever Byrne is doing. It has to be heard to be believed, in total.
Drugs (Electricity)
The version of "Electricity" earlier on the album (before it was changed a little and became "Drugs") is interesting, but the 2nd alteration of it is radically different and, possibly, blows the first one out of the water. The bassline, guitar, and drums combine to create this faster, better atmosphere that was lacking from the studio version. Despite all that, however, the choruses are what stand out. The backup singers and the repetition of the guitar give the chorus such a psychedelic, almost dream-like feel. The momentum is kept throughout the whole song, and trumps the one on Fear Of Music in almost every way.
Houses In Motion
This song undertook the most dramatic transition from the album it was originally on, and it's glorious. "House In Motion" was great on Remain In Light, but definitely not a stand-out track. Here, the transformation is fantastic. Adrian Belew and the rest of the band lay down an amazing groove, and it leaves Byrne and the rest of the backup singers to carry this song. This song lasts for about 7 minutes, and I honestly don't get bored of it at all. The choruses have so much impact, and the singing packs way more energy live than it ever did on Remain In Light. Certainly one of the best songs on the album, in addition to being dance-able!
Born Under Punches (The Heat Goes On)
This rivals "Houses In Motion" for the best song, and personally, I think this one pulls through. I find the introductory guitar solo to be utterly captivating, for one. I wouldn't have minded at all had that been the introduction to the song on the album (although I do love Byrne's scream at the start on Remain In Light), but that may not have made it as awesome here. I genuinely like this version more than the studio one, mainly because of two factors: the energy, and that man I've definitely never mentioned in this review before, David Byrne.
I find the groove just as good as the original version, except I love how the drums take a bit more of a prominent role. The percussion had to get creative, and it overall succeeds. Also, the guitar solo from Belew, while maybe not as "cool", does feel less robotic and serves to drive the song forward (which it successfully does). As for David Byrne, his singing goes from normal to crazy. He puts in the right amount of energy and lunacy when required, only to exceed all expectations. The second verse is captivating, and Byrne's little side remarks ("one step, one step") add to the insane atmosphere being crafted. It's a marvelous combination of all of the best of the Talking Heads.
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Anyway, those are the ten/eleven songs I wanted to discuss from this release. While I could mention how this version of "I Zimbra" packs a lot more energy, how "Once In a Lifetime" has a really cool outro (although I may prefer the studio track for this one), how "Life During Wartime" picks up the pace from the Fear Of Music version, how "Animals" is a lot more melodic (with another amusing Byrne performance), and so on, but I think I addressed all the songs I really wanted to talk about. After all, I could theoretically gush about every single song on this album, but, for the sake of variety, I think it makes sense to talk about some key differences and essentials.
I suggest buying this full album, as, in truth, every track is worthy, and every track is a highlight. Enjoy one of the best albums of all time.
P.S. - "Artists Only" and "Air" are both hilarious.
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