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TALKING HEADS

One of the most acclaimed bands of the post-punk era, a vision of innovative art-pop featuring David Byrne's manic yelp over tight R&B grooves. At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks

"TALKING HEADS: 77"

1977     LP     SIRE RECORDS    QSR 6036  

PRINTED IN CANADA

SINGLE COVER + INNER SLEEVE

HEAVY CARDBOARD COVER

NOTES: This release has I on the label under the catalogue number.

Barcode and Other Identifiers

Barcode: none

LABEL: SIRE  - YELLOW LABEL w/LOGO on TOP - BLACK TEXT

Catalog on cover: QSR 6036

Catalog on labels: QSR 6036

Matrix / Runout (Side A, Etched): QSR - 6036 - A

Matrix / Runout (Side B, Etched): QSR - 6036 - B

On labels: rim text reads "Sire Records, Inc. Manufactured and Distributed by WEA Music of Canada.........W"

Produced by Tony Bongiovi, Lance Quinn & Talking Heads

All selections written by David Byrne

All selections published by Bleu Disque Music Co., Inc./Index Music-ASCAP

℗ 1977 Sire Records, Inc.

(on Side B): All selections written by David Byrne, except as indicated.

On Spine: Printed in Canada

On Back Cover: © 1977 Sire Records Inc. Manufactured and Distributed by WEA Music of Canada.........W

tracklisting

Side A: UH-OH, LOVE COMES TO TOWN - NEW FEELING - TENTATIVE DECISIONS

HAPPY DAY - WHO IS IT? - NO COMPASSION

Side B: THE BOOK I READ - DON'T WORYY ABOUT THE GOVERNMENT

FIRST WEEK / LAST WEEK...CAREFREE - PSYCHO KILLER - PULLED UP

grading

RECORD EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

 Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal. Talking Heads threw you off balance, but grabbed your attention with a sound that seemed alternately threatening and goofy. The music was undeniably catchy, even at its most ominous, especially on "Psycho Killer," Byrne's supreme statement of demented purpose. Amazingly, that song made the singles chart for a few weeks, evidence of the group's quirky appeal, but the album was not a big hit, and it remained unclear whether Talking Heads spoke only the secret language of the urban arts types or whether that could be translated into the more common tongue of hip pop culture. In any case, they had succeeded as artists, using existing elements in an unusual combination to create something new that still managed to be oddly familiar. And that made Talking Heads: 77 a landmark album...(AllMusic)