A fine, unsweetened live version of “Swamp” from the Talking Heads’ “Speaking in Tongues” tour in 1983. I say unsweetened, because the version included on the “Stop Making Sense” live CD released in 1984 from some concerts in Los Angeles was allegedly not quite as live as people were led to believe. This version comes from a soundboard recording at the Saratoga show. I’ve always love the dirty, creepy vibe of this song.
Damn, this live version of “Once in a Lifetime” is so iconic of the first half of the 1980s. This played on MTV and USA’s “Night Flight” relentlessly for a 9-month period between 1984 and 1985. As much as I loved this, I got really, really sick of it at the time. But distance does make the heart grow fonder. And seeing it for the first time in several years makes me appreciate what a great job not only the Talking Heads did here, but what Jonathan Demme did with making the amazing concert film “Stop Making Sense” in 1984. Demme’s had some setbacks since his Oscar win for “The Silence of the Lambs,” but as “Rachel Getting Married” proved, don’t ever count Demme out. The man has made some great, great films.
I remember seeing this at least 4-5 times as a midnight movie at the Naro Theater in Norfolk, Virginia back in the 1980s. The theater was always packed and they always had to stop the movie at least 4-5 times due to multiple people dancing in front of the screen. Yes, there were THAT many people dancing in front of the screen that they literally had to stop the movie until people sat down … multiple times.
Jonathan Richman and his band the Modern Lovers were a real anomaly in the early 1970s. Like many singer-songwriters of the era, Richman wrote very sensitive lyrics that wore his heart on his sleeve. But those lyrics were backed with some uncommonly abrasive music for the period (supplied by future Talking Heads member Jerry Harrison and future Cars member David Robinson). In addition, Richman’s songs decried drugs and promiscuity at a time when no one had even thought of the term “straight edge,” let alone thought it was cool. When you add his unfashionably short hair and nasally vocals into the mix, he seemed like the guy who was begging for noogies and wedgies.
But despite his “uncool for the time” demeanor, Richman was as ballsy as Iggy Pop and Lou Reed (two artists Richman admired) and like Pop and Reed, seemed to invite abuse by his mere presence. “Someone I Care About” is Richman’s declaration about wanting a girl that he cares about, or he wants nothing at all. A marked contrast to many bands of the era promising to give women every inch of their love or wanting their women hot, sweet, and sticky. Richman may not be cool in the classic rock sense, but the perspective is refreshing and a lot more sane. Produced by John Cale of the Velvet Underground.
A loving tribute to funk, recorded by a couple of Talking Heads on vacation (Tina Weymouth and Chris Frantz), Adrian Belew, and others. The song became a classic, being sampled endlessly in the early days of hip-hop. However, as great and as groundbreaking as the song was/is, the animated video is even better. Almost 35 years later, it still seems revolutionary.
http://www.avclub.com/articles/how-bad-can-it-be-case-file-23-saturday-night-live,84591/
Bad comedy has always intrigued me, which is why I found this article about SNL’s infamous 1980-81 season so fascinating. Part of Nathan Rabin’s endlessly terrific “My World of Flops” series, Rabin analyzes the SNL season most people believe was the series’ worst. This was the season produced by Jean Doumanian, right after Lorne Michaels (and the rest of the original cast) left, and she had to start over with a new cast and new writers. After reading the detailed account of this season’s failure in Doug Hill’s and Jeff Weingrad’s 1985 book “Saturday Night: A Backstage History of Saturday Night Live” many years ago, I had been trying to see these episodes for a long time. Some of the episodes appeared on Comedy Central when repeats of the show were run, but many of them were severely edited. It wasn’t until some DVD-Rs of this season mysteriously fell off a truck in a town I don’t remember that I finally got a chance to watch the season.
Yes, this season is pretty bad. However, when you look at the show over its nearly 40-year history, there are other seasons that are arguably as bad. What’s easier to see now (as opposed to back in 1980) is that the show goes through severe ups and downs, the downs usually being the years when the show has to start over with a new cast and writers. It’s not that the performers/writers are bad during the down seasons, it just takes time for a new talent pool to gel, but watching that process can be incredibly painful (and interesting). The 1980-81 season was one of those seasons, and Doumanian had an incredibly thankless job. Because no one had ever seen this process before and because the first 5 seasons were so beloved, anything less than being better than the first 5 seasons would have been seen as a failure.
Despite these qualifications, the season is pretty terrible, though the obvious highlight is watching the introduction of Eddie Murphy. Watching Murphy and how fresh and funny he was back in the day, it’s astonishing to think where his career has ended up over 30 years later. Don’t get me wrong, the man still has enormous talent (“Dreamgirls”), but when you see the hacky comedies he’s become affiliated with in recent years (“Pluto Nash,” “Daddy Day Care”), it’s a sad reminder of how far he’s sunk.
The other fascinating person to watch that season is Charles Rocket. Billed as a cross between Bill Murray and Chevy Chase and groomed to be the season’s breakout star by producer Doumanian, Rocket is a better talent than historians of the show would lead you to believe. However, the pressure cooker environment of the show, coupled with the sky-high expectations put on his shoulders by Doumanian, likely contributed to him being immensely difficult to work with, as Hill and Weingrad allege in their book. After being fired soon after dropping the “f-bomb” on live television, Rocket periodically popped up in character roles in movies and TV, usually very good and playing the kind of caddish roles that Wil Arnett specialized in before starring in “Up All Night” (ironically, produced by Lorne Michaels). His 2005 suicide by slitting his own throat was especially sad, considering that before SNL, Rocket was considered an important figure in the Providence, Rhode Island arts scene during the early-mid 1970s, a scene that also produced Jonathan Richman and the Modern Lovers and the Talking Heads. (Rocket played accordion on the David Byrne-produced B-52s album “Whammy”). Below is a link to an article from the Providence Phoenix that discusses this part of Rocket’s career.
http://www.providencephoenix.com/features/p_and_j/documents/05030762.asp
Doumanian later went on to become producer of then-best friend Woody Allen’s films during the 1990s and early 2000s, until an infamous falling out occurred, detailed in the Vanity Fair article listed below:
http://www.vanityfair.com/culture/features/2005/12/woodyallen200512
One of the three lovely, almost-forgotten country songs recorded for the Talking Heads’ underrated “True Stories” album in 1986. As snarky as the “True Stories” movie seemed, the music was anything but, including this gem.
Dave's Strange World 