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The Best of Talking Heads- Once in a Lifetime

2009-05-06 - extension: rar - size: 127 MB

The Best of Talking Heads- Once in a Lifetime

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Talking Heads - The Best Of www softarchive net

2009-01-28 - extension: rar - size: 101 MB

Talking Heads - The Best Of www softarchive net

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The Best Of Talking Heads

2009-06-18 - extension: rar - size: 70 MB

The Best Of Talking Heads

Talking Heads

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Talking Heads Drugs remix Fear of Music + Some Frank Zappa
Talking Heads "Fear of Music" 1979, Sire Produced: Brian Eno & Talking Heads (More) Talking Heads "Fear of Music" 1979, Sire Produced: Brian Eno & Talking Heads Recorded: Long Island City, NY, April 22, 1979 and May 6, 1979. The Hit Factory, Atlantic Studios, RPM Sound Studios, The Record Plant, New York All Songs: Byrne (except) Overall- 4.5 David Byrne -- vocals, guitars Chris Frantz -- drums Jerry Harrison -- keyboards, guitars, backing vocals Tina Weymouth -- bass, backing vocals Brian Eno -- backing vocals, treatments Gene Wilder and Ari Up -- congas on 1 and 5 Robert Fripp -- guitar on 1 The Sweetbreathes -- backing vocals on 7 Julie Last -- backing vocals on 1 1. I Zimbra (Byrne, Brian Eno, Hugo Ball) -- 3.5 2. Mind -- 5 3. Paper -- 3.5 4. Cities -- 4.5 5. Life During Wartime (Byrne, Chris Frantz, Jerry Harrison, Tina Weymouth) -- 4.5 6. Memories Can't Wait -- 4 7. Air -- 3.5 8. Heaven (Byrne, Harrison) -- 4.5 9. Animals -- 4.5 10. Electric Guitar -- 4 11. Drugs -- 3 "To me, everything about the Talking Heads that isn't vocal or lyrical is a little nondescript, only reaching the recognizable status because of their success. All of them are irreplaceable, of course, because of the expertly executed grooves they could stick with for minutes on end. The innovation, then, rests on the vocalist, so what are we left with? David Byrne: professional art-weirdo. Apart from his distinguished singing voice, Byrne riddles his songs with excellent emotion. What emotion that is, I have no idea. Fear of Music shows quite the opposite. Each track is bravely approached as an impregnable vessel for whatever Byrne's weird messages are, all the while compelling the head to nod to the standard 4/4 drum beats. The most affable songs are mainly on the first side, songs during which you can allow yourself to sit back and relax: the weirdness of Byrne has not yet begun. "I Zimbra" is a great opening track, with a great percussive engine about it. Another one of their big ones, "Cities," adds a dark shell to the concept of surrounding yourself in a city, and expecting its atmosphere to affect you. Perhaps the title Fear of Music pertains to how the average listener would react to more than half these tunes. Things like "Mind," and everything after "Memories Can't Wait," with the exception of the straightforward, almost boring "Heaven." Byrne all but screams his head off in "Animals," and all but scares my pants off with "Drugs." It is produced by Eno, after all. Another professional art-weirdo. What you get in the end is an album that is, in its own way, experimental, when you take away what the non-singing members of the band do. My faves: "I Zimbra," "Life During Wartime," "Memories Can't Wait," "Drugs" ('cause it's creepy and sonically diaphanous)" - Strawhenge --------------------------------- white house commission september attacks only a minority of the commission can see a limited amount of the classified documents and then they have to clear it with the white house before hand. absurd. there should be 100% transparency. I got into Talking Heads at the age of 12 when i heard "once in a lifetime" but didn't listen to "remain in light" until a year later because i couldn't afford it, but there was Talking Heads 1st album '77 for sale at half price. So I bought that one instead. Initially I was dissapointed because I wanted to hear "remain in light", but it grew on me and I was hooked on Talking Heads. David byrne is a bit of a genius and he writes some of the best bridges in music. The extra music you hear at the start and end is Frank Zappa. I was hooked when i heard "them or us" and "sheik yerbouti" and ended up buying everything he released. "Roland's Big Event/Strat Vindaloo" is the 1st track at the start and "Amnerika Goes Home" is the last piece. "Only those who truly love and who are truly strong can sustain their lives as a dream. You dwell in your own enchantment. Life throws stones at you, but your love and your dream change those stones into the flowers of discovery. Even if you lose, or are defeated by things, your triumph will always be exemplary. And if no one knows it, then there are places that do. People like you enrich the dreams of the worlds, and it is dreams that create history. People like you are unknowing transformers of things, protected by your own fairy-tale, by love." (Less)

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Talking Heads - Paper - Remixed - Fear of Music
"In hindsight, the Talking Heads' Fear of Music can be viewed as a transitional affair (More) "In hindsight, the Talking Heads' Fear of Music can be viewed as a transitional affair that bridged the gap dividing the distinctive, new wave-meets-R&B jitters of Talking Heads: 77 and More Songs about Buildings and Food from the funk-laced fury of Remain in Light and Speaking in Tongues. It also happens to be the band's most daunting and difficult album to embrace. From its paranoia-filled lyrics to its tightly-wound arrangements, the aptly titled Fear of Music perfectly captured the sound of a complete psychological breakdown. The songs themselves were given innocuously simplistic titles befitting an inmate at a psychiatric ward. In fact, seven of the 11 tracks were graced with only a single-word moniker — Mind, Paper, and Drugs, among them. At first, the effect masked, and then it enhanced, the terrifying substance of Byrne's apprehensive ruminations, which expressed his beliefs that animals were laughing at him, his electric guitar wasn't to be trusted, and the air itself was causing him harm. In illustrating Byrne's twitchy psychoses, the Talking Heads rekindled its relationship with producer Brian Eno, and unlike More Songs about Buildings and Food, this time, the partnership was more even-handed. In particular, Eno's eerily ambient influence is felt deeply on the nervous dissonance of Memories Can't Wait as well as on the unsettling distortion of Drugs, though nearly everything — from the mechanical beat of Mind to the manic urgency of Life During Wartime to the harried Cities — bore his mark. Still, it was the Talking Heads' frenetic energy that kept the material aloft. Despite the array of aural effects that filtered through Fear of Music, however, its incarnation as a 5.1 surround sound DUALDISC isn't nearly as enveloping of the listener as one might expect it to be. Part of the problem is that remixing the effort proved to be fraught with difficulties because it originally was recorded with a remote truck at the loft in which Chris Frantz and Tina Weymouth resided. The band's lo-fi approach meant that the new version of the outing was destined to contain less dimensionality and depth than it otherwise might have, but the end result is that its subdued, but no less stellar, sonic spectrum augments the sensation of constrained claustrophobia that pervades endeavor. The CD side also contains alternate versions of Mind, Cities, and Life During Wartime as well as an unfinished, David Bowie-esque outtake titled Dancing for Money, while the DVD side features performances of Cities and I Zimbra that were taken from a 1980 installment of the German television show Rockpop. Undoubtedly, all of the extras, while enlightening, are geared towards avid collectors rather than casual fans, but this is wholly appropriate for an album that is as intensely challenging as Fear of Music." - John Metzger Time stands still when you're cracking up. At the brink of mental overload, there's a revelatory instant — a freeze frame in which everything fits together in new ways. Logic dissolves, paralogic reigns. And in that precarious moment, the world is fixed in place, skewed and renewed. David Byrne's lyrics on Talking Heads' Fear of Music are paralogical visions stated with almost childlike directness: he thinks that air hits him in the face, that animals want to change his life, that "someone controls electric guitar." By itself, this perspective makes Byrne's songs fascinating. But what makes Talking Heads my favorite and probably the best rock band anywhere is that they've invented an audio analog to their view from the brink: rock music that warps and suspends time. They use a simple device: repetition. Unswerving rhythms, immobile harmonies. Each tune is a chain of sections linked by rhythm, each section a matrix of interlocking riffs. "I Zimbra" stakes Talking Heads' claim to pure mechanization. One by one, the instruments click into place in a rhythm pattern fleshed out by Afro-futurist harmonies and topped by the meaningless chanted syllables of a poem by Twenties Dadaist Hugo Ball. At composition's end, Robert guitar phases through the whole pulsing assemblage like the shuttle of a high-speed loom. (Less)

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