Talking Heads - Stop Making Sense [1984] Johnny Hates Jazz - Tall Stories [1991] ABC - The Suberbs of Alphabet City [1988] China Crisis - Difficult Shapes & Passive Rhythms. Patrick Cowley - Megatron Man [1981] Paul Rein - Communicate [1986] Wax - Right Between the Eyes [1986] F.R. David - Long Distance Flight [1984] Giorgio Moroder. Stop Making Sense is a live 1984 album by Talking Heads, the soundtrack to the film of the same name.The original release features nine of the tracks from the movie, albeit with treatment and editing. View credits, reviews, tracks and shop for the 1984 Vinyl release of Stop Making Sense on Discogs. The soundtrack to the Jonathan Demme documentary, Stop Making Sense captures the Talking Heads live in 1984 on what would turn out to be their last major tour. This collection, and the film, is a true gift to the band's fans, a testament to their extraordinary talent, both in the studio and especially onstage.

With each successive song, Byrne is joined by more members of the band: first by for ' (with providing harmony vocals from backstage), second by for 'Thank You for Sending Me an Angel', and third by for 'Found a Job'. Performance equipment is wheeled out and added to the set to accommodate the additional musicians: back-up singers Lynn Mabry and Ednah Holt, keyboardist, percussionist Steve Scales,.

Directed by Jonathan Demme.BRILLIANTLY starts with a blank, brightly lit stage and progresses with each song to a fully functioning stage show. Byrne did his own lighting AND choreography along with writing songs. There is so much abstract joy in this piece that it makes one think, 'We're they on coke?' I'm thinking since it WAS the 80's.definitely. It was hard NOT to do coke in the 80's. The only thing missing is that nobody speaks to the audience at all.

Flawless logic. As Martin Mills eloquently put it earlier this year: “ Including tracks with albums mixes apples with pears, and fails to chart anything meaningful other than sheer brute size.” Somehow, this has been deemed more progressive than simply allowing the album a graceful plateau into less relevant sales territory. Right then, shall we illustrate the self-evident lunacy of ‘streaming equivalent albums’?

Retrieved April 9, 2018. 23 March 2015. • (January 1, 1984). Ebert Digital LLC. Retrieved April 9, 2018.

If you're already a Heads fan, you won't be disappointed. If you're not familiar with their music, i guarantee you'll be a fan by the end of the movie. Director Jonathan Demme knows what he's doing here. Instead of gratuitous audience shots, he focuses on the band.

Not only is the music wonderful and breathtaking, the background slides, lighting and costumes make the whole show very entertaining without distracting you from the music. The band is incredibly energetic throughout the entire performance -- they seem genuinely thrilled to be on stage.

I have to stress that Stop Making Sense isn't just a bunch of playing and singing. The band manages to make each song stand out. The faster songs are performed with plenty of energy and enthusiasm, while the slower songs sound beautiful and make you wonder. The film contains no audience shots until the very end to enable the viewer to form their own opinion about the performance.

Byrne's intention was not to make a traditional soundtrack album, but to have it be a separate experience. Limited pressings of the original LP version featured a full color picture book wrapped around Tracklist Track number Play Loved Track name Buy Options Duration Listeners 1.

A couple of illustrations - During 'Once in a Lifetime', the camera holds on David Byrne, framing him from the waist up, and doesn't leave him until the very last moments of the song. His performance is absolutely enthralling.

(5th concise ed.).. • 'Talking Heads: Stop Making Sense'. October 1999. • Connelly, Christopher (November 8, 1984).. Archived from on July 24, 2001.

Other times he seems a little detached. Rounding out the touring band are Alex Weir on lead guitar, Bernie Worrel on keyboards, Edna Holt and Lynn Marbry on back-up vocals, and Steve Scales on percussion. None are treated as sidemen, rather as an integral part of the show. Tv serial tamil.

• at • ^ Maltin, Leonard (2008). Leonard Maltin's 2009 Movie Guide. • (October 30, 1984).. Retrieved July 17, 2018.

The stark white up-lighting reduces a large auditorium and stage to a claustrophobic collage of shadows. The effect is not unlike some scenes in Charles Laughton's 'Night of the Hunter'. In contrast to some other views posted here, I think the Tom Tom Club's appearance adds a colourful punctuation to the flow of the movie. The DVD is one of the very few I've come across where the commentary is worth listening to. It switches between all four band members plus Jonathan Demme, and the anecdotes are constantly interesting and often very funny. As a package, this is one of the most satisfying DVD's I own. All the extras are worthwhile and well presented, unlike most 'Special Editions' which are crammed full of junk you wouldn't normally give a second look.

Maybe one or two songs might not totally click or may sound a little, well, dated (it was the 80s after all, no longer the folks from CBGB's), but there's constantly memorable moments, including the opening take on Psycho Killer, the building-block form from song to song as band members join one by one until it's a good dozen players and singers all in the mix, and with the imagery that Demme and DP Jordan Crenowith create. For the most part it's (perfectly) straightforward film-making. But here and there we see real artistry break through, shadows cascading the figures playing, the juxtaposition of Byrne in that suit flopping around, moving around seamlessly between musicians. It's the kind of craftsmanship that looks like it should be easy enough with a good few cameras, yet probably took as much prep work as Scorsese had on the Last Waltz. So, take in all of the 80's New-Wave mood (and, make no mistake, it's VERY 80's New Wave, but probably in the best and most experimental sense imaginable), take in pretty much all of the classic Talking Heads numbers (there's one I forget the name of that's especially chilling with the chorus a series of 'ya-hay-hay-hay-hay-hay's' from Byrne in marching formation). It's probably one of the best modern concert films. To be perfectly honest, I was not a Talking Heads fan before this I saw this.

Personnel [ ] The following are in order of appearance. • -, • -,,, lead vocals in Tom Tom Club • -, in Tom Tom Club • - guitar,, • Steve Scales -, backing vocals • - backing vocals • Ednah Holt - backing vocals • - guitar, backing vocals • - keyboards Filming [ ] The filming of Stop Making Sense spanned four live shows at the in. It pioneered the use of digital sound recording which resulted in a particularly clear soundtrack.

This concert/movie is simply a brilliant collaboration of music and film. First off, you have the Talking Heads, perhaps one of the most creative and interesting bands in the history of music who put on a concert that is so imaginative that I still cannot believe it happened.

He got help from the Heads' superb performances and the excellent staging of the show -- building instrument upon instrument from Byrne himself with a boombox and acoustic guitar to the full-fledged band. Sadly, the Sire soundtrack only contains about half the songs from the film, and some of those are edited. In the age of the re-release, perhaps we will soon have the full version in our CD carousels. That would certainly make sense. As cinema, as music, as artistic statement, as joyous spectacle, it is hard to top this tour-de-force. Perhaps its being merely a 'concert film' disqualified it from many critics' 'Best of Century' lists. But down the road a few decades, I have a feeling this one's going get more and more formal recognition as a masterpiece.

Stop Making Sense defines the band's abilities, attitudes, styles and motifs. The New Wave approach the film takes is stylistically engaging to such an extent that it is virtually impossible to draw your eyes away from the screen.

They don't play off each other or the audience in any way, leaving it to Byrne to sell each song. Jerry Harrison, one of the four Heads, seems AWOL even on the middle of the stage. Bringing up a few session players like Bernie Worrell, the P-Funk keyboardist, helps the film avoid this 'boring white guys playing their music' trap at least somewhat, though if the mission of this film is to introduce us to the Talking Heads, it's certainly no 'Hard Day's Night' or 'Last Waltz.' But the songs are good, and Byrne works through his bemused detachment to become quite passionate on some selected numbers. His 'Once In A Lifetime' is one of the great screen performances of 1984. Goofy lighting sets up 'Swamp' and 'What A Day That Was' and there's oddball tricks aplenty throughout.

Getting angry about that fact makes about as much sense as raging at sustainable farming equipment. It’s just going to happen. But that doesn’t prevent us from asking a vital question: What do all of streaming’s measurements of success – its billions of plays, its viral playlists and its carefully-branded ‘memberships’ – actually mean in the context of traditional, unit sales-based album successes? The truth is, we have no idea and we probably never will. Yes, if someone buys an album there’s no guarantee they will listen to all the tracks as the artist intended. They may just stick to their favourites.

He bends his body in weird contortions. He puts on a really big suit. From the beginning to end, he has his shirt collar buttoned to the top like a Catholic schoolboy, and I'm not sure how or why. 'How' and 'why' are words that pop up a lot while watching this. Talking Heads were weird even for the punk/new wave crowd; they wore their hair like accountants, mined everything from disco to doo-wop to African exotica for their sound, and pulled off the trick of being both mocking and reverential.

Schwarzenegger and Stallone were never this thrilling. It's a good thing that the Talking Heads broke up when they did. I mean, could you imagine them slogging it out today, playing the state fair circuit, or worse, the street fair circuit? No, watch this film.

• Peary, Danny (1986). Guide for the Film Fanatic. Simon & Schuster. • Christgau, Robert (April 1988). Video Review. Retrieved July 17, 2018.

At the beginning of the greatest concert movie ever made, we follow a pair of sneakered feet to down center of an empty stage. A voice says 'I've got a tape I want to play.' We pan up to a thin, nervous-looking man with an acoustic guitar and a boom box. The box starts playing a beat.

People were dancing in the aisles by about the third song. We went back the next night and several nights there after with our girlfriends and others and had a blast. Our friends weren't particularly fans of the talking heads but they loved the movie.

Perhaps its being merely a 'concert film' disqualified it from many critics' 'Best of Century' lists. But down the road a few decades, I have a feeling this one's going get more and more formal recognition as a masterpiece. Future generations will marvel at the surgical-like precision of the playing and the choreography, the irresistible groove created by the band, and David Byrne's bold and provocative songpoetry. Even those who don't like the Heads can still enjoy the pleasures of pure inspiration at work. It's like the planets were in perfect alignment during that December 1983 concert -- had the film been produced in '81 or '86, it might not have been as good.

What A Day That Was 11. This Must Be The Place 12. Once In A Lifetime 13. Genius Of Love 14. Girlfriend Is Better 15. Take Me To The River 16.

Byrne is rumored to have hated. They band split up after this tour which is sad. Byrne left to have a solo career that never matched the popularity he had with the Talking Heads.and in my opinion never produced anything that equaled it's brilliance. And also the only true work of art that Jonathon Demme has ever produced.

Talking Heads album bestography « Higher ranked (293rd) This album (424th) Lower ranked (459th) » Stop Making Sense. Stop Making Sense is a stone cold classic and almost perfect from top to bottom, the live versions of these album tracks absolutely spring to life and pop with energy and vigour. I much prefer these live renditions Viewing the movie is an absolute must and is freely available free on-line, I recently re-watched it for the first time in years and it reminded me what truly remarkable piece of cinematography it is. Byrnes on stage energy has to be seen to be believed My other recommendation is to check out the full 16 track concert for the definitive SMS listening experience (make sure you skip past The Tom Tom Club bit because it pretty much sucks), the 9 track abridged version whilst totally awesome makes the listener feel short changed as it is over in the blink of an eye SMS would easily be in my all time top 20 albums were it not for my no live/compilations rule SMS is timeless and totally breathtaking Stop Making Sense completely Makes Sense 85/100 ( not 100 / 100 due to Tom Tom club).

Second, you have veteran Director Johnathan Demme who brings the darkness and creepiness that he used in such films as Silence of the Lambs and Philadelphia, to a concert with sort of a dark and creepy demeanor, i.e. David Byrne in general, the style of music, the dancing. I mean dark and creepy in a good way however. I cannot help to think that this movie is also a comedy.

You can't sit still while watching this. You can't keep your head from bobbing, or your mouth from moving, if you know the words to the songs. Twenty years later, the sound and image of Talking Heads still feels new, maybe even post-new.

'O-o-oh what a day that was!' At the beginning of the greatest concert movie ever made, we follow a pair of sneakered feet to down center of an empty stage. A voice says 'I've got a tape I want to play.' We pan up to a thin, nervous-looking man with an acoustic guitar and a boom box.

This is because when seen and heard the mind becomes so fixated with the audacious madness of the piece that every viewer will react differently. Personally, this is the concert which I would irrefutably name as the finest ever recorded, maybe you will too. Spoilers herein. Take this not as music that became a concert that became a film.

I have shown this film to friends who have never heard of or listened to Talking Heads, and all agree that a) it is a freaking incredible film, b) I am a god for having shown it to them, and c) they need to go out immediately and buy a copy for themselves. If you haven't seen this film, take that copy of 'Song Remains The Same' (which should have been called 'Song Remains So Lame', and I love LedZep so kwitcherbitchin hehe) and throw it away. This is so watchable that I'm still not tired of it after seeing it more than a dozen times in 1984 and owning the DVD since I got my first player 5 years ago. The nature of concert films changed forever with Demme's decision to keep the camera on the band itself and not dwell on audience reaction shots or Zep-like fantasy sequences.

It has no trick narrative stance: the viewers are in the audience. It has no flashy angles or editing. This is both minimalist filmmaking and minimalist rock all based on the notion of urban ecstasy.

This is a record of performance that cannot be matched. If you like music, at all, clear a little time and watch this movie. I can't promise you won't be disappointed, but I cannot easily imagine how. It was a mistake for met to put off watching Stop Making Sense.

I have to stress that Stop Making Sense isn't just a bunch of playing and singing. The band manages to make each song stand out. The faster songs are performed with plenty of energy and enthusiasm, while the slower songs sound beautiful and make you wonder.

Please, take a moment to read those three words back. They are a telling indication of just how messed up this business has become – and of its stark refusal to accept that an entirely new model can only be properly evaluated through entirely new methods. Imagine if other businesses simply refused to treat groundbreaking technologies any differently than their previous incarnations. I am writing this with my keyboard-equivalent quill, and I should imagine you’re reading it on your screen-equivalent parchment. Last night, I drove in my car-equivalent train to buy some petrol-equivalent cattle before returning home to send some email-equivalent faxes. Have you seen – email-equivalent faxes are going through the roof.

I have always been a big fan of the Talking Heads, but after seeing this movie, my love for them skyrockets. They are a unbelievable band with an imagination that rivals that of the likes of Shel Silverstein and the Cohen Brothers. I could literally go on and on about how brilliant this movie is.

The Talking Heads offshoot, the Tom Tom Club (Weymouth and Franz, plus backing musicians), also performs a few songs. This is Talking Heads at their peak, creativity-wise and popularity- wise. Incredible concert - the band seemed to be having a whole lot of fun and the music is fantastic.