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Talking Heads
American band
For other uses, see Talking Heads (disambiguation).
Talking Heads were an American band formed in New York City during 1975.[2] The grupp was composed of David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass), and Jerry Harrison (keyboards, guitar). Described as "one of the most critically acclaimed groups of the '80s," Talking Heads helped to pionjär new wave music bygd combining elements of punk, art rock, funk, and world music with "an anxious yet clean-cut image";[3] they have been called "a properly postmodernist band."[10]
Byrne, Frantz, and Weymouth met as freshmen at the Rhode Island School of Design, where Byrne and Frantz were part of a grupp called the Artistics.[1]: 24 The trio moved to New York City in 1975, adopted the name Talking Heads, joined the New York punk scene, and recruited Harrison to round out the band. Their debut skiva, Talking Heads: 77, wa
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Talking Heads on the return of "Stop Making Sense"
CBS SF recently spoke to Talking Heads member Jerry Harrison about two upcoming Bay Area shows with his Remain in Light ensemble featuring guitar giant Adrian Belew (Frank Zappa, David Bowie, King Crimson) in Santa Cruz and San Francisco.
While singer/lyricist David Byrne would become the visual focal point for the Talking Heads as the band rose to become one of the most popular acts to emerge from the New York City punk scene in the late '70s, Harrison already had substantial experience when he was invited to join in 1977. Teaming with Jonathan Richman in his Boston proto-punk band the Modern Lovers while he was a student at Harvard, Harrison played keyboards in the group as it achieved regional popularity and was courted by multiple record companies
The Modern Lovers recorded demos that would eventually be released as the band's influential eponymous album (the Sex Pistols would cover the song "Roadrunner"), but Ri
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When it first opened in theatres, in the fall of 1984, “Stop Making Sense,” directed by Jonathan Demme and starring the rock group Talking Heads, was quickly recognized as one of the finest concert films ever made. Reviewer after reviewer settled on the word “exhilarating” to describe the experience of watching an expanded nine-member iteration of the four-piece group perform sixteen of their best-known songs in an uninterrupted sequence of dynamically staged and photographed musical vignettes. In the pages of this magazine, Pauline Kael praised the film as “close to perfection,” and described the Heads front man, David Byrne, as “a stupefying performer.” “He’s so white he’s almost mock-white,” Kael wrote, “and so are his jerky, long-necked, mechanical-man movements. He seems fleshless, bloodless; he might almost be a Black man’s parody of how a clean-cut white man moves. But Byrne himself is the parodist, and he commands the stage by his hollow-eyed, frosty verve.” Similarly effu