TALKING HEADS

The Talking Heads were another punk band exclusive to the New York punk scene in that they weren't a punk band at all. Like Television they were far more arty and intellectual to ever be considered real, genuine punks. I believe they are often referred to as the first New Wave band so I shan't bother kicking up a fuss - New Wave it is. The band were all art-school graduates, like Television, but even less punk and even more nerdy. Indeed, it would be a real nerd who chose to idolise Heads' frontman David Byrne. Not a particularly cool man. And on to the album itself: This album was an increasingly rare treat for me as it was a record that actually took time to grow on me. Whereas these days, and particularly with punk albums, I can discern the merits fairly quickly it really took a fair few listens before the true quality of this album really revealed itself to me. Nearly every song on here seemed to have some sort of hidden delight, impenetrable on initial listens. But enough of this praise-gushing I've got a few bones to pick with this album. Firstly, the production seems a little weak and vapid. It was produced, coincidently, by Tony Bongiovi, Jon Bon Jovi's music mogul cousin. For their later albums I believe Brian Eno took the reigns so I doubt the production remained so flat. Secondly, I find Byrne's vocals a little irritating at times. Most of the time it's fine but when he does those little yelps or affects his stupid high-pitched voice I find it a little grating. Often he ends up sounding like Sting on helium, which isn't a good style for anyone to adopt. Well anyway, back to the compliments and, in particular, those hidden delights. The album opener "Uh-Oh, Loves Come to Town" really had me flummoxed at first with its unabashed poppiness and even the use of steel drums. STEEL DRUMS!?! This isn't friggin' Blue Peter - It's New York punk. Well now I've come to adore that little number, even the steel drums bit. A great song. "Tentative Decisions" is elevated by a wonderful, piano-driven chorus but even a song that good doesn't make it to the list. "No Compassion", on the other hand, certainly does. By far the best song on the album. A towering epic with Byrne's best vocal performance as well, although those yelps at the end still irritate me. The guitar picking is superb and the hard-rock chorus really sets this song apart. Great great great. The reprise for the coda is also a great touch with some bottle-neck sliding for good measure. I really love that song. "Psycho Killer" is probably the most famous song on the album, the first single as well, and is therefore another of the best numbers. The distinctive bass intro really sets the scene although the nonsensical French is, well, psycho. Like "No Compassion" the coda is superb (in this case the best part of the song) with a great rattling guitar work-out. There actually isn't enough guitar interplay on the album as when it does occur it is one of the highlights of the album. "The Book I Read" and "First Week/Last Week...Carefree" are both great songs but highlighted by some excellent instrumental breaks. In the former's case a rolling piano line whereas a saxophone elevates proceedings on the antagonistically titled "First Week/Last Week...Carefree". It seems fairly common of me to say this for the album reviews on this page but there isn't a poor song on the whole album. Even a brief cut like "Who is It" has something to add. Still, there aren't quite enough great songs either. Besides, I've given out too many 10* ratings on this page anyway. Take 9* and you, Byrne, stop yelping.

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Email me at: jackfeeny@yahoo.co.uk