This is the second Talking Heads record, released two weeks to the day I was born in 1978. I always spot in those lists that the number one record when I was born was You’re The One That I Want by John Travolta and Olivia Newton-John. I think I prefer this.
The one thing that amazes me about this album – except for the music of course – is the cover. It’s probably one of my favourite pieces of album artwork – a collage of 529 close-up polaroid photos, showing the four members of the band standing looking at the camera. I never see this regarded as being a classic album cover though. Maybe it’s a little too artsy for classic rock fans – but as far as pop art goes, this is a beautiful image.
This is the first Heads album to feature Brian Eno in the producer’s chair – a partnership that would eventually see them change the face of American music, turning new wave into alternative rock, paving the way for the likes of R.E.M. and subsequently Nirvana and beyond. In terms of a comparison to their first album, this one is tighter and, dare I say it, not as fun as that debut record. One of my favourite looser moments on Talking Heads: 77 is the steel drum break in opening song Uh-Oh, Love Comes To To Town. You still hear steel drums on More Songs…, but this time it’s in a much more controlled manner (towards the end of Found A Job).
That said, Bryne is still having a whale of a time, whooping and hollering on songs like Artists Only. Here you can hear him starting to loosen up, heading in the direction of his crazy vocal performance on Once In A Lifetime. Maybe that was Eno’s plan all along – get the band under control, but let Byrne go crazy over the top?
Hit: Take Me To The River
Hidden Gem: Thank You For Sending Me An Angel