Talking Heads #5- The Name Of This Band Is Talking Heads

*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.

---

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.

ELP #5- Brain Salad Surgery

Brain Salad Surgery- 1973

Rating: 15

"KE9 has 3 parts! Oops, I'm sorry. Impressions.

Best Song: Karn Evil 9: First Impression (Both parts)

Worst Song: Is there one?

     ELP is my favorite band of all time, in case you were wondering. Sure they are pretentious, but I LOVE the creative ideas put on their albums. You would most likely give this album a lower grade then I did, mostly because a lot of people think "Toccata" is garbage. However, a lot of people think this is the peak, while I just barely believe "Tarkus" is better.

     The grand album begins with "Jerusalem", which is an excellent, yet simple song. One of the amazing things about the entire album, along with this song, is that the band wanted to make sure they could perform it on stage. Since they did that, every track on this album can be played exactly the same way live. Anyway, "Jerusalem" is a slow anthem that has Greg singing with his normally spectacular voice. Emerson's keyboards serve as an awesome backing, and Palmer is just being... well, Palmer. This song sounds concludes in an epic ending.

     This next song is the song that a lot of people hate, "Toccata". Personally, I didn't like it the first time I listened to it, but now I believe it is fantastic. It starts with some quiet drums and keyboards until the keyboard suddenly gets louder and turns into a weird yet great synth/keyboard madness. The drums are pretty cool too. That parts ends with even more synths before Palmer starts to drum some more and uses his gongs. Soon, you start hearing bells and other instruments playing quietly. Then comes the main madness. Keith starts either a car alarm or a really weird synth and lots of other really strange car alarm-like noises start to come in. All these stop when Emerson returns to the main theme, and closes the song with strange synths and keyboards.

     Following that is a pretty ballad called "Still... You Turn Me On". This song has a lyric that most people hate (Every day a little sadder, a little madder, someone get me a ladder), but I don't really mind it. The lyrics in general are pretty good, and Lake's guitar sounds nice. the wah-wah guitar is also played pretty well. After that comes one of the strangest yet most hilarious ELP songs, "Benny the Bouncer". You expect to hear Greg's great singing, but instead you hear him doing this nasty yet amusing voice. The lyrics are strange yet funny, and the piano playing superb, along with the drums. Then the symphony begins.

     The big suite that concludes the album is "Karn Evil 9", which is basically "Carnival 9". This song is extremely awesome, especially the first "impression" (pretentious, but I don't care). First in the suite is "Karn Evil 9: First Impression Pt. 1", which starts with a look into the future. Greg is blaring some great vocals, and Emerson's keyboards are fantastic. That melody goes off for a little while after the first part, but I still enjoy it quite a bit. the lyrics are pretty cool. Suddenly, it breaks into a instrumental part that is entertaining without running too long. It then changes to a melody in which it seems like an actual carnival, with normal yet absurd things. Greg is amazing, the lyrics are wonderful Keith is doing some cool stuff, and Palmer is drumming nicely. After that, a instrumental part goes in and, if you have vinyl, the first side ends.

     The second side continues right where it left off with "Karn Evil 9: 1st Impression Pt. 2". This starts with good synth noises and Lake singing the excellent lyrics. Emerson solos during one of the verses before Lake solos on his guitar. Even Palmer gets a little drum solo fill before Greg starts singing again. The song ends with Emerson hitting his final keyboard notes before Greg belts out "SEEEEEEEEEEE THEEEEEEEEEE SHOOOOOOOOOOOOOOOOOOOOOOOOWWWWWW". It sounds terrific.

     The suite continues with "Karn Evil 9: 2nd Impression". This is basically a fabulous instrumental since I don't count the weird noises in the middle). This has Keith playing some spectacular piano playing, and the drums are fast paced. This turns into a part with an instrument I can't identify, but I like how it sounds. That part goes back to the beginning piano before ending. Then things get weird. Soon, some haunting piano is played, along with some bass. There are some weird noises, but there are also some strange vocal noises during it. Some piano playing is played over some of the noises later on. A little bit later piano does a little introduction to the beginning part again (with an added faster pace part) before the song ends.

     The final song and final part of the suite is "Karn Evil 9: 3rd Impression". Most people believe this is a bad song, but I see no flaw in it, even though it certainly isn't fantastic. The keyboards comes back and lead the way for the song. Lake sings the lyrics well, even though they are not as great as the previous lyrics. This part is when the computers overpower the humans. The computer voice is provided by Keith speaking into his weird machinery. Later, the vocals stop and a nice instrumental part comes in with Emerson doing a sort of solo. The song moves into a long cool fast paced part. Emerson's playing is pretty awesome. After quite a while, the main part comes back with Greg singing and Emerson speaking that comes in with a good conclusion. However, Emerson starts doing a weird synth part that slowly gets faster before being so fast and ending the album.

     "Brain Salad Surgery" is certainly an amazing album, and is very worthy of praise. This is easily the 2nd best ELP album.

ELP #2- Tarkus

*Tarkus- 1971*

Rating: 15

Ham or Cheese?

Best Song: Tarkus

Worst Song: None here

     Have you ever had a dream about a armadillo tank? If you have, and you have stared at the cover of this album, is this what you saw? Did you find it unusually fascinating? Wait, why am I talking about armadillo tank dreams? Anyway, this is one of my favorite albums. It is also the best album about a armadillo tank, considering you don't just go into a record shop and see a version of "Tarkus" by The Backstreet Boys (or The Beach Boys). Now, to get back on topic, "Tarkus" by ELP is among the greatest albums I have heard, and should be in your collection.

     The album starts with the amazing title track. It begins with a bunch of voices all strung together until going into the first part, "Eruption". This part is about a volcanic explosion that causes "Tarkus" to be born. This part includes lots of fast keyboards, and Palmer's gong. In addition, Emerson uses his Hammond organ and Moog synthesizer. That part then goes into "Stones of Years". Lake sings a song that appears to be about hearing, speaking, and knowing. This is most likely the best vocal part. Suddenly, that song goes into the third part, "Iconoclast". "Iconoclast" is a warplane/pterodactyl. "Tarkus" easily defeats it. This part seems like a even faster version of "Eruption" with a few added parts to help make it connect with the part that follows.

     The next part is "Mass". "Mass" is a lizard/lobster/rocket launcher. Lake sings in this part about religious things, and Emerson has a solo between one of the verses. Lake also plays an electric guitar in parts of the section. "Mass" then goes into "Manticore", which is "Tarkus's" final enemy. This battle happens between the "Eruption" theme and the new "Manticore" theme. Eventually, "Manticore" wins. This part is another Hammond organ festival with short drum breaks during certain sections. The next part is "Battlefield", where the battle concludes and "Tarkus" begins to head to a river. This is a song completely written by Greg Lake. It actually has a guitar solo, which is unusual in a ELP song. The lyrics are some of the best on the album, and the keyboard is excellent as usual.

     The final part, "Aquatarkus", symbolizes "Tarkus" going to the river and becoming, you guessed it, "Aquatarkus". This part has Palmer doing a march-like rhythm on his snare drum as Keith's keyboards represent "Tarkus". Finally, there is a reprise of "Eruption" that, instead of moving on, creates an epic ending. Normally, you would expect the rest of the album to be not so good. Actually, the rest of the album is awesome! It comes in with "Jeremy Bender", which is ELP's shortest song ever. The lyrics are funny, Keith's honky-tonk piano is nice. The drumming fits the song very well. Following that is "Bitches Crystal", in which Emerson's piano rocks. Greg's voice packs tons of energy, and Palmer's drumming is amazing as usual. After the 1st and 2nd piano solos, Greg's voice sounds so powerful you wonder if Greg almost killed someone in the making of the song.

     The next song is "The Only Way (Hymn)". The organ is cool and slightly haunting, while Greg's voice is very good. The lyrics are deep, and the piano that comes in later is up to Emerson's normal quality. This song goes directly into "Infinite Space (Conclusion)". The melody Keith plays on his piano is pretty cool, and Palmer's drums are sort of simple compared to the other songs. That, however, is not a complaint. The song is completely driven by the piano. After that comes "A Time and a Place", in which Emerson returns to his Hammond organ. Greg's voice sounds awesome, and the drumming is exceptional. The lyrics are cool, and the section where the drumming disappears, Greg sings another verse, and Keith plays his synthesizer is excellent.

    The album seems to be over, but than the hilarious "Are You Ready Eddy?" runs in. Emerson rocks his piano (and almost kills it in the solo), Greg singing is spectacular, and Palmer has a fast drum beat going. Greg adds in a lot of comments during the song when he's not singing, and the lyrics are quite funny. At the very end of the song, Keith says "Ham or Cheese?", causing Palmer to repeat that and laugh. That alone makes this song worth it to listen to. Then, if you bought the Surround Sound Deluxe Edition, it comes with the sad Greg Lake song "Oh My Father", the song Keith sings, "Unknown Ballad (Maybe It's Just a Dream)", and an alternate instrumental take of "Mass". All of these are also pretty amazing. I won't go into the details, since they technically aren't on the album, but these songs would not ruin the rating in any way.

     "Tarkus" is stellar, and should be in you collection. If you don't have it, BUY IT. You won't regret a minute, unless you hate Prog.

ELP #1- Emerson, Lake, and Palmer

Emerson, Lake and Palmer- 1970

Rating: 15

Debuts don't get much better then this
Best Song: Take a Pebble
Worst Song: There really isn't one

     Wow. These guys really do know how to make a stunning debut! I really can not find a single flaw in this album. Every song on this album is fantastic, some more fantastic than others. Of course, ELP got better (and worse) as they went on, but this album is truly amazing.


     It starts with "The Barbarian", in which Emerson's signature Hammond organ is first introduced. The guitar line later strums a single note and takes the song into a neat piano section. It then goes back into the main theme and ends. "The Barbarian" isn't the most amazing ELP song, but certainly is a spectacular album opening. Following that song is "Take a Pebble", which is Emerson and Lake domination. The beginning ballad is very nice, and the Emerson solo is joyful and fun. Suddenly, the Emerson solo ends, and Lake's guitar starts to play. The guitar starts quiet and nice but then it goes into a rodeo tune that reminds me of "The Clap" by Yes. However, that doesn't last too long until going back to Emerson's solo fest. Lastly, the ballad returns, and the song slowly comes to a end.

     Next comes the great "Knife Edge", which, while not exactly original, is awesome. Emerson uses his Hammond organ again, and Lake's singing is clear yet slightly bitter (in a good way). The lyrics are interesting, and after the first two verses, Emerson breaks a sort of solo. After the solo, the next verse comes in, and the song slows down and kind of explodes into fireworks for no reason. The song after that is "The Three Fates". There is, well, three parts, each talking about one of the fates. The first fate, Clotho, features the signature Hammond, and is kind of strange. The second fate, Lachesis, is a two minute piano segment. The third fate, Atropos, is easily the strangest part. Emerson, after sort of repeating part of the first part, plays his piano as Greg and Palmer quickly play their instruments as the song becomes an awesome yet chaotic segment. Then the song, like the last song, it explodes for no reason. I don't understand it, but it sounds pretty cool, so I don't care!

     "Tank" comes right after "The Three Fates", and a good Palmer drum line comes in. Greg and Emerson quickly come in for a while until you just hear Emerson and Palmer. Palmer goes into an exciting drum solo featuring my favorite addition to his drum set, the gong. After the three minute drum solo, the song goes into a march-like section in which Emerson uses a Moog synthesizer. After the song fades out, the ballad "Lucky Man" begins. It seems sort of simple, but I enjoy it greatly. After two verses and choruses, some guitar plays over the backing vocals. Then two more sections come in, and Emerson does a Moog solo until the song ends. The solo was recorded in a single take without Emerson even knowing they would include it on the album.

     "Emerson, Lake, and Palmer" is an essential album to be included in your second basement, or maybe even your music collection. Either shall do.