Day 0541 - Private Dancer

Tina Turner "Private Dancer" (1984)

Having split with Ike Turner, and having been struggling to get her solo career to really take off, Tina released "Private Dancer".  The album had a number of producers, including one member of the band Heaven 17.  The machine-pop (and occasional rock) laden with synthesizers and drum machines replaces the organic RnB of Tina's music with Ike.

The album was a huge success, though I agree with the assessment that much of the music itself is kind of forgettable.  It's Turner's amazing voice that really sells this music.  I didn't even entirely recognise "What's love got to do with it" until her voice kicked in.  In some ways though, the underwhelming impact of the music does serve to spotlight Turner's vocal power all the more.  

Side note: I never thought I'd hear someone best Al Green at "Let's stick together", but wow, she gives him a run for his money.

Day 0493 - Tom Tom Club

Tom Tom Club "Tom Tom Club" (1981)

Tina Weymouth and Chris Franz showing that David Byrne wasn't the only member of Talking Heads who could follow his artistic muse outside of the 'home' band.

The couple had been hanging out with famed reggae rhythm section Sly and Robbie and enlisted reggae legend Lee Scratch Perry to produce the album... but he never showed  up, so they did it themselves.

With the songs, built on rhythmic grooves, throwing different genres at the wall to see what sticks, messing around with  synthesisers and choirs, they generally took an "anyone can get involved" ideology.  Perhaps this was them kicking against the restraints of David Byrne this could be seen as something of a precursor to the first Gorillaz album (which the Tom Toms were apparently also involved with).   The album also features multi-instrumentalist Adrian Belew who has recorded with King Crimson, David Bowie, Frank Zappa, Cyndi Lauper and a range of others.

This is an important album for the burgeoning rap scene as well, the  TTC grooves being sampled by artists ranging from Tupac, Grandmaster Flash, Puffy Daddily Diddily, Mariah Carey and others.

Tina Weymouth's rapping "Wordy Rappinghood" seems like somehow childlike, but also fun.

Day 0467 - Remain in Light

Talking Heads "Remain in Light" (1980) - got it

David Byrne was suffering a case of writers block so looked to build up some minimalist jams, often around just one or two chords. The band brought in influences from funk, to afro-beat, to electronica and Byrne helped craft the jams into functional songs.

Following the 'Fear of music' tour, the band had taken time off to pursue other interests. Byrne and 'Remain in light' producer Brian Eno recorded the "My life in the bush of ghosts" album.  Jerry Harrison produced an album for a soul singer.  The married rhythm section of Tina Weymouth and Chris Franz headed to the Caribbean to hang out with famed reggae rhythm section Sly and Robbie. The two mulled over the idea of leaving Talking Heads due to Byrne's controlling nature.

Eno too had questioned coming back as producer after his previous two albums with the Heads... so it wasn't really a happy working environment.   As it was, Eno didn't produce the next album ("Speaking in tongues") and a few year's later the band's inner turmoil became insurmountable and they broke up. It's probably telling that while many acrimoniously split groups have reformed throughout the years, the Heads (aside from a Rock n Roll Hall of Fame appearance) have avoided reuniting.

For all the friction in its making, the album produced some great songs, including one of TH's most known tracks "Once in a lifetime".

Day 0435 - Fear of Music

Talking Heads "Fear of Music" (1979)

Hmm, another Talking Heads album that I don't own. This one is really interesting, Eno's influence seems to be creeping in even more than on 'More songs about buildings and food' with additional sonic trickery.

David Byrne took the nervous energy and anxiety that popped up in places on the first two albums and just smeared it all over the songs here. Even the serene 'Heaven' (rendered as an ethereal ballad by Icehouse) has a slightly cynical and bleak feel to it.

Eno tweaks the sounds made by the band as well as increasing the nervous energy by throwing plenty of extra little unsettling bleeps and bloops into the mix.

Day 0413 - More Songs About Buildings and Food

Talking Heads "More Songs About Buildings and Food" 1978 - got it

Brian Eno joins the Heads in the studio, bringing his gift of mixing pop with new and interesting production ideas, starting a creative partnership that would help produce some great TH albums, but would also see fractures appear in the group.

The band mixes its skittish brand of art-rock with touches of scratchy funk and danceable disco beats, creating a sound that would be ripped off wholesale (though done very well) by Franz Ferdinand some 25-30 years later.

Byrne sounds like he's recording some of his vocals after drinking several pots of coffee, just a nervous gangly energy to what he's doing.

The husband-and-wife rhythm section of Chris Frantz and Tina Weymouth lay down some tight grooves over a mix of styles.

The second-to-last track is a cool-down.  A fairly sedate reading of Al Green's "Take me to the river" that has become a bit of a classic rock radio staple (or at least it has over here).

Day 0382 - Talking Heads: 77

Talking Heads "Talking Heads: 77" (1977... rather obviously, I guess)

 
The Heads were formed by David Byrne and Chris Frantz, with Frantz's girlfriend Tina Weymouth joining on bass and played their first gig opening for the Ramones.  After the band were signed, Byrne (showing that talent doesn't always come with charm) then demanded that Weymouth audition to keep her role in the band.   Guitarist and keyboardist Jerry Harrison (formerly of the Modern Lvoers) joined shortly before they recorded their debut album, with Jon Bon Jovi's cousin Tony Bongiovi, handling production duties.

I really enjoy the Talking Heads and have a few of their albums, yet I've never really got around to properly checking out this one.  There are some great tracks here ("Happy day", "Don't worry about the government", "First week/last week...carefree", and of course "Psycho Killer"), it's a good album, and a clear influence on later bands with their mix of intellectualism and danceability, skittish postpunk and neurotic funk.

If I'm honest, I probably prefer their later albums' variety to the more uniform approach on this one, but it's still good.