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I was at one of the Stop Making Sense shows. It was quite formative for me.
It’s interesting that Chris and Tina have had arguably more impact on the culture than David. I hear snatches of TTC all the time.
[HN] ‘Stop Making Sense’ Is Back, and Talking Heads Have More to Say
Submitted 1 year ago by irradiated@radiation.party [bot] to technews@radiation.party
https://www.nytimes.com/2023/09/09/arts/music/talking-heads-stop-making-sense.html
Comments
ChrisLicht@lemm.ee 1 year ago
6daemonbag@lemmy.dbzer0.com 1 year ago
Oooh can you expand on that? I feel like I know what you’re thinking but I don’t read or hear a lot about Tom Tom Club. Genius of Love was so great
autotldr@lemmings.world [bot] 1 year ago
This is the best summary I could come up with:
An expanded audio album, out Sept. 15, now includes the entire concert set, with two tracks omitted from the movie: “Cities” and a medley of “Big Business” and “I Zimbra.” Refreshing its peak performance, the band hopes to draw one more generation of fans to its irresistible funk grooves and youthful ambitions.
The music hot-wired rock, funk and African rhythms, while the fractured, non sequitur lyrics glanced at, among many other things, disinformation (“Crosseyed and Painless”), evangelicalism (“Once in a Lifetime”), authoritarianism (“Making Flippy Floppy”) and environmental disaster (“Burning Down the House”).
There had been choreographed soul revues and big-stage concert spectacles long before Talking Heads mounted their 1983 tour supporting the album “Speaking in Tongues.” But Byrne envisioned something different: a performance influenced by the stylized gestures of Asian theater and the anti-naturalistic, avant-garde stage tableaus of Robert Wilson.
Then, with everyone in place, the concert turned into a surreal dance party, capped by Byrne’s appearance in an oversized, squared-off, very floppy suit — an everyday American variation on the geometric costumes of Japanese Noh theater.
The band enlisted the equally open-eared Brian Eno as a producer and collaborator to extend its sonic palette and songwriting strategies — which, in turn, led Talking Heads to add musicians onstage.
The show didn’t have a choreographer; Byrne and the backup singers, Lynn Mabry and Ednah Holt, had worked out some moves while dancing around his loft before the tour, while others emerged as it progressed.
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