Stop making sense (1984) [VINYL]

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Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated… The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.” Matrix / Runout (Side B, variant 4): SH-SP 1 25121 B SH 3 [Allied 'ɑ' logo] B-19702-SH3 SLM 1̶-̶1̶ 0-1STERLING TJ ∆7401-X

T HE EDITED PRESS RELEASE: “ Talking Heads joined forces with director Jonathan Demme for the groundbreaking concert film Stop Making Sense. To celebrate the 40th anniversary of the concerts filmed for Stop Making Sense, a newly restored 4K version of the film will return to theaters for a global theatrical run with A24. Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.” Matrix / Runout (Side A, variant 1): 0-25MI-I SH-SP 1-25121 A SH1 [Allied 'ɑ' logo] B-19701-SH1 SLM ∆7401 STERLING In the deluxe edition liner notes, the four band members share their thoughts and memories of the project. Goods that are faulty or sent in error must be returned to Crash Records Limited, 35 The Headrow, Leeds, LS1 6PU within 7 working days of the item being received by the customer.The new booklet is an update of the one accompanying the limited edition of the original LP, which asks a number of questions, one of which is "Why was a digital system used for the sound?" The double-album release comes with a reproduction of the original booklet from the 1984 pressing, with additional notes from Talking Heads’ David Byrne, Chris Frantz, Tina Weymouth and Jerry Harrison and never-seen-before photos. Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.” Stop Making Sense" Gets Re-Mastered and Issued-in-Full on Limited Edition Double LP Set for the first time you get the full live concert set list (on vinyl), but what about the sound? Matrix / Runout (Side B, variant 3): SP 1̶-̶2̶ O-2 ∆7401-X SH-SP 125121 B SH3 [Allied 'ɑ' logo] B-19702-SH3 SLM

Quite simply, the idea of pairing the live album format and the Talking Heads’ music is a perfect one, as evidenced by the fact that they have two of the most decorated and respected live albums of all time (this and The Name of This Band Is Talking Heads). The Heads here are energetic, frantic, grand and incredibly joyful. I think that joyousness is the key separator here between this live album and almost any other in history. The synth solo on Life During Wartime is indicative of a band that is not only very talented, but comfortable with each other to the point that they are willing to take grand expenditures in their solos during concerts. As great as their studio material is, they never really sounded like they had this freedom before.Cutting the bits and pieces of the film, the introduction from Byrne and the tape he wants to play, Stop Making Sense dives straight into an acoustic masterclass. Psycho Killer never sounded so romanticised. Bar the usual praise for Talking Heads’ finest hour, the mix for this anniversary record is truly worth the listen. It sounds deeper, bulkier and the quality differences are immediately noticeable. Reminiscent of the ill-forgotten CD version of the original performance, which cut and shoved bits and pieces of other songs, Stop Making Sense is finally, definitively collected. It was already for the visual medium but this feels like the first time the album has truly come together. Even as the ‘Heads themselves say in interviews, the familial feel of a band piecing themselves to completion on stage, it shows up just as strongly on the record.

That was the question I had after buying and listening to the original record. None of the questions are answered in the original booklet. The updated booklet, with new notes by Tina Weymouth, husband Frantz, David Byrne, and Jerry Harrison, answers some of the questions, which Byrne quips were originally included in the hope that journalists wouldn't ask them. Of course they did! Because the original album had a very muddy sound. This CD blows away the previous version and even the sound on the DVD. As on the original, the record omits David Byrne's famous opening line "Hi, I've got a tape I want to play" (though the tape and boom box were just props). Joe Nino-Hernes cut lacquers even though Chris Grainger who is the production and booking manager at Sterling, Nashville gets the credit. Who put together and approved that? Today, David Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads: “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we perform them live and were inspired by having an audience. In many ways, these versions are more exciting than theMatrix / Runout (Side A, variant 5): SH-SP 1 25121 A SH1 [Allied 'ɑ' logo] B-19701- SH1 SP SLM∆ 7401 1̶-̶2̶ STERLING TJ 0-1 and LP similar to Talking Heads - Stop Making Sense, but the vinyl is easier, and the color of the label is lighter. The instrumentals are also phenomenal, filled with passion and energy the whole way through, with such complex grooves and fun sound that I just wanna get up and dance. I won't go into each instrument because all it'll amount to is "Goddamn it was really good", but the two I'll comment on are Steve Scales' really interesting and unique additions to the music (at least for a live album), and Tina Weymouth's great bass, two favorites of mine throughout the album. Speaking In Tongues, the group's first post Brian Eno effort was its highest charting, reaching #15 on the Billboard top 200. It also crossed over to the dance charts, reaching #2. A wholly appropriate result given the band's musical direction. Previously only available as bonus feature outtakes on certain video releases, ‘Cities’ and ‘Big Business/I Zimbra’ feature on the deluxe reissue. The polyrhythmic funk of Byrne solo number ‘Big Business’ segues seamlessly into the ferocious bongo-led drive of ‘I Zimbra’, while the bouncy, queasy bass of ‘Cities’ is brought to the forefront, making for two further enticing treats for an already bountiful record set.