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Track List
01) Uh-Oh, Love Comes to Town
02) New Feeling
03) Tentative Decisions
04) Happy Day
05) Who Is It?
06) No Compassion
07) The Book I Read
08) Don't Worry About the Government
09) First Week/Last Week…Carefree
10) Psycho Killer
11) Pulled Up
01) Uh-Oh, Love Comes to Town
02) New Feeling
03) Tentative Decisions
04) Happy Day
05) Who Is It?
06) No Compassion
07) The Book I Read
08) Don't Worry About the Government
09) First Week/Last Week…Carefree
10) Psycho Killer
11) Pulled Up
2:50
3:09
3:08
3:55
1:44
4:49
4:10
3:01
3:21
4:20
4:29
Data Complete
80%
Total Rating
80%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1977
New Wave
Enlightened
Rock/Pop
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Album
0 copies
Album Description
Available in:
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.
User Album Review
Released in superb new surround-sound mixes (along with the rest of the Heads' studio catalogue) it's entirely apposite that New York's quirkiest chart act should now be back in the racks. Let's face it, half of rock's 'new' acts are trading on music created between 1977 and 1981 - the band's creative zenith.
Containing their signature debut hit "Psycho Killer", 77 instantly sets out Byrne and Co's stall. Honed by two years of Bowery dive one-nighters, the songs are the usual mixture of itchy, compulsive bursts of semi-comprehensibility and pop savvy. What's surprising is how lush these remasters sound. Ingenious group arrangements lift songs far above the monochrome sound palettes of their contemporaries, while Byrne's words seem fearless in their attempts to address more than just sexual politics. In retrospect, Talking Heads were always bound to succeed.
External Album Reviews
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User Comments
Available in:
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.
User Album Review
Released in superb new surround-sound mixes (along with the rest of the Heads' studio catalogue) it's entirely apposite that New York's quirkiest chart act should now be back in the racks. Let's face it, half of rock's 'new' acts are trading on music created between 1977 and 1981 - the band's creative zenith.
Containing their signature debut hit "Psycho Killer", 77 instantly sets out Byrne and Co's stall. Honed by two years of Bowery dive one-nighters, the songs are the usual mixture of itchy, compulsive bursts of semi-comprehensibility and pop savvy. What's surprising is how lush these remasters sound. Ingenious group arrangements lift songs far above the monochrome sound palettes of their contemporaries, while Byrne's words seem fearless in their attempts to address more than just sexual politics. In retrospect, Talking Heads were always bound to succeed.
External Album Reviews
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