TALKING HEADS: 77

While the new wave music scene is most noted for its wealth of artists that found instant success for the outlandish videos promoted on MTV starting with the Buggles' famous "Video Killed The Radio Star," the scene can rightfully be traced back to the 70s with its origins emerging from the early quirky zolo pop of acts like Sparks as well as the glam rock of David Bowie, Roxy Music and proto-punk acts like the New York Dolls. After the proper fluffing the music world for primetime, the scene really took off in the mid-70s with bands like Blondie, Devo and the Ramones adding elements of punk to art rock and synth-pop and out of all the early pioneers, one of the most celebrated bands to come out of the early new wave world was the New York City based TALKING HEADS.

Unlike many bands that go through many members that come and go throughout their careers, TALKING HEADS consisted of the exact same lineup beginning with its debut album TALKING HEADS 77 all the way to the band's end in 1991. Immediately recognizable by the jittery and often psychotic lead vocals and guitar playing of frontman David Byrne, the band also consisted of percussionist Chris Frantz, Jerry Harrison (guitar, keyboards, backing vocals) and bassist Tina Weymouth. Famous for its quirky mix of punk freneticism, art rock exoticism, funky rhythms, world music ethnic elements all mixed with experimental touches, the TALKING HEADS have gone down in history as one of rock's greatest bands with album's like "Fear Of Music" and "Remain In Light" heralded as classics, however things didn't start out with such a bang regarding the band's debut release simply titled TALKING HEADS 77.

While also restrospectively deemed one of the classic 70s releases, TALKING HEADS 77 was a little too weird for audiences when it was released in September 1977 on the Sire label. While clearly existing in the pop music continuum with instantly catchy and utterly infectious melodies with somewhat traditional song structures, everything else was completely up to chance as to how it played out. Firstly was the unique even goofy vocal style of David Byrne whose head scratching lyrics ran the gamut from cutesy little anthems like "Happy Day" to the more macabre in tracks like the single "Psychokiller," which proved to be a minor hit by barely cracking the charts. With an opening track like "Uh-Oh, Love Comes To Town," it's easy to dismiss the TALKING HEADS as simply a power pop band without much more to offer but it doesn't take long for the bizarre nature of the band to unleash itself.

"New Feeling" debuts the idiosyncrasies so unique to the TALKING HEADS such as the off-kilter rhythmics, abrupt tempo changes, detached weird lyrics and zolo freneticism that were all dressed up with Byrne's unpredictable falsetto leaps that found company with ska rhythms, funky bass riffs and punk fueled disregard for the status quo. With a touch of Sparks' zolo fueled quirky pop sensibilities and a touch of glam rock charm, the band found the perfect balancing act between the utterly bizarre and the most affectionally familiar. Added to the peculiar sound was the band's straight looked image that portended a group of mental institution escapees that stole the proper clothes to fit into the mainstream public. Peppered with roundabout sarcasm of mainstream society, nobody really knew what to make of the TALKING HEADS. While Devo was all about being weird and demented, the TALKING HEADS cast a mesmerizing spell that made you wonder exactly what they stood for.

TALKING HEADS 77 is a unique album in the band's discography as it is the most authentically pure. Soon after this album's release the band was discovered by Brian Eno who would then collaborate on the next three albums and work in his production magic which gave the album's a much more polished and sophisticated demeanor. While not as gemstone perfect as the following releases, 77 is nevertheless a powerhouse of quirky new wave pop tunes that weasel their way into your ear worm playlist fairly quickly after a couple spins. The tracks differ just enough to keep the album from becoming predictable. Not the band's best but still an excellent slice of late 70s new wave charm.