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CLEANING OUT MORE LP'S. SOME FROM THRIFT STORES, SOME FROM MY MUSIC LIBRARY, AND SOME FROM MY RADIO FRIENDS SOLD OR GIVEN TO ME, SOME FROM THE NETWORK I WAS AT.

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THIS IS A PHOTO OF THE ACTUAL ITEM FOR SALE, SORRY IF THE PICTURE(S) ARE A BIT BLURRY OR IF THERE'S A LITTLE GLARE.

I HAD A SMALL HEART ATTACK A COUPLE OF YEARS AGO AND AM SLOWLY LETTING GO OF MY ALBUM COLLECTION, THIS COMES FROM OVER 40 YEARS OF COLLECTING AND ALSO WORKING IN RADIO WHEN STATIONS WERE TRANSITIONING FROM LP's TO CD's.

ARTIST: TALKING HEADS

TITLE: “STOP MAKING SENSE” ACORDING TO THE MATRIX # ON DISCOGS THIS IS THE “CLUB EDITION”

TRACK LISTING-SEE PHOTOS/BELOW:

A1

Psycho Killer

4:20

A2

Swamp

3:50

A3

Slippery People

3:35

A4

Burning Down The House

4:10

A5

Girlfriend Is Better

3:32

B1

Once In A Lifetime

4:34

B2

What A Day That Was

5:08

B3

Life During Wartime

4:52

B4

Take Me To The River

5:36

RECORD LABEL: SIRE RECORDS

CAT.#: 1-25186

YEAR OF RELEASE: 1984

RECORD CONDITION: THE RECORD IS IN VG+/EX- CONDITION. LABELS IN PERFECT CONDITION. THE SONGS PLAY SUPER CLEAN, NO BACKGROUND AUDIO BETWEEN TRACKS. NO CLICKS, NO LINES, SMUDGES, FINGERPRINTS, SCRATCHES ON THE VINYL. NICE SHINEY BLACK LUSTER. LOOKS AND PLAYS VERY CLEAN. THERE'S SOME VERY LIGHT BACKGROUND SOUND ON THE LEAD IN GROOVES,. MAINLY SIDE TWO ON THE FADE UP.

JACKET CONDITION: THE JACKET IS IN EX/EX- CONDITION, NICE CLEAN STRAIGHT EDGES, NO WRITING, CREASES, EDGE WEAR, RIPS, CORNER DINGS OR TEARS.THERE'S A VERY. VERY TINY “DING” UPPER RIGHT EDGE ALONG THE OPENING.

MORE INFO: THIS RECORD IS CURRENTLY OUT OF PRINT. FROM THE MUSIC LIBRARY OF A NATIONAL RADIO NETWORK. COMES WITH THE ORIGINAL INNER SLEEVE WITH PHOTO'S FROM THE FILM ON BOTH SIDES, IN EX. CONDITION,

ARTIST INFO:

TALKING HEADS INFO/BIO-

Talking Heads were an American rock band formed in 1975 in New York City and active until 1991. The band was composed of David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass), and Jerry Harrison (keyboards, guitar). Described by the critic Stephen Thomas Erlewine as "one of the most critically acclaimed bands of the '80s," the group helped to pioneer new wave music by integrating elements of punk, art rock, funk, and world music with avant-garde sensibilities and an anxious, clean-cut image.

Former art school students who became involved in the 1970s New York punk scene, Talking Heads released their 1977 debut album, Talking Heads: 77, to positive reviews. They collaborated with producer Brian Eno on a trio of experimental and critically acclaimed releases: More Songs About Buildings and Food (1978), Fear of Music (1979), and Remain in Light (1980). After a hiatus, Talking Heads hit their commercial peak in 1983 with the U.S. Top 10 hit "Burning Down the House" from the album Speaking in Tongues and released the concert film Stop Making Sense, directed by Jonathan Demme. They released several more albums, including their best-selling LP Little Creatures (1985), before disbanding in 1991...

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 effusive sentiments were echoed by critics across the country. If such a thing as Rotten Tomatoes had existed at the time, “Stop Making Sense” would surely have ranked in the high nineties.

The New York-based film director Jonathan Demme who died in 2017, was forty years old at the time that he made “Stop Making Sense.” He had been an avid fan of Talking Heads since he first saw the band perform at Wollman Rink, in Central Park, in the summer of 1979. (“The four of them stood there like statues on this platform,” he recalled.) The following year, Demme achieved his breakthrough as a director with “Melvin and Howard,” a bittersweet comedy about a chance encounter in the Nevada desert between an unemployed factory worker and the eccentric billionaire Howard Hughes. He next saw Talking Heads perform in Los Angeles in the summer of 1983, and was stunned by the change in the band. The four former statues had turned into a dynamic, interracial troupe of singers, dancers, and instrumentalists performing exuberantly arranged and choreographed versions of their songs. He quickly contacted the group through a mutual friend and pitched the idea of filming their show. As fans of “Melvin and Howard,” the Heads agreed to work with Demme after hearing his thoughts about how––and how not––to present them onscreen. On the advice of their manager, Gary Kurfirst, the group financed the film themselves, with the help of an advance from their record label, in order to retain ownership and full creative control.

For his part, Demme made it clear that he wanted to focus the whole production solely on the band’s performance. Unexceptional as this might sound, it was a departure from the way that rock concerts had previously been presented on film, from Richard Lester’s mock-documentary “A Hard Days Night” to Martin Scorsese’s “The Last Waltz,” by dispensing with a “backstory” of the musicians coming and going; the logistics of staging the show; interviews with the band members, promoters, and fans; and the fervent response of the crowd. Instead, Demme proposed to simply film the band onstage, expertly, while avoiding the rhythmic, fast-paced, jump-cut style of editing associated with the music videos being shown on the recently established platform MTV. The apparent austerity of this approach conformed to the minimalist art-school aesthetic that Talking Heads had embraced since they first emerged as the albino in the herd of ragtag bands that got their starts in the mid-seventies at CBGB, the dive bar on the Bowrythat served, for a few brief years, as the breeding ground of punk. In those days, surrounded by posturing rock romantics such as Patti Smith, Television and the Ramones, the Heads sought to make a virtue of their musical and theatrical limitations by adopting a performance style that was initially “defined by [its] negatives,” as Byrne described it, consisting of “no rock moves or poses, no pomp or drama, no rock hair, no rock lights . . . no rehearsed stage patter,” and, perhaps most telling, “no singing like a Black man.”

By 1983, Talking Heads had come a long way, musically and otherwise, from the austere, frozen tableau they’d presented during their incubation at CBGB and their early concerts. They added a capable fourth member on keyboards and guitar, Jerry Harrison (whose Harvard degree burnished their highbrow reputation), achieved a hard-earned proficiency on their instruments, and recorded five critically acclaimed and commercially profitable studio albums, three of them made under the aesthetic spell of the polymath British producer Brian Eno. In the course of that evolution, they jettisoned many of the musical and theatrical restrictions they had originally placed on themselves, beginning with the proscription on singing like a Black man, which yielded to a brilliantly understated rendition of Al Green’s “Take Me to the River” that earned them a Top Forty hit and revealed their musical affinity for the stately, churchy backbeats of Memphis soul.

The expanded version of Talking Heads that appears in the film was the culmination of a process that began in the fall of 1980, following the release of the band’s fourth album, “Remain in Light,” when Byrne and Harrison realized that the densely layered arrangements on the record, many of which reflected the polyrhythmic influence of Afro-pop artists like Fela Kuti and King Sunny Adé, could not be reproduced in concert by a four-piece group. This led to the addition, on short notice, of five additional members—Adrian Belew on guitar, Bernie Worrell on keyboards, Steve Scales on percussion, Busta Jones on bass, and Dolette McDonald on backing vocals—all but one of whom were African American. This gave the band a biracial composition that was highly unusual at the end of a decade when the audience for popular music in the United States had become substantially resegregated into the tribes of white punk and hard rock on the one hand, Black funk and disco on the other. The expanded Heads toured the U.S. and Europe that fall to an enthusiastic reception.

They then took a year-long sabbatical, during which Byrne burrowed deeper into the downtown avant-garde by collaborating with the choreographer  on a dance piece called “The Catherine Wheel,” Harrison recorded a solo album, and Frantz and Weymouth formed a band of their own called Tom Tom Club, whose willfully inane single “Genius of Love” became a dance-club standard and radio hit. Talking Heads reunited with slightly different personnel in 1982 to tour in Japan, Europe, and the States, after which they recorded their first self-produced album, “Speaking in Tongues,” which spun off their first and only Top Ten single, “Burning Down the House.”

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