"PULLED UP" TALKING HEADS (1977)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 3: Providence, RI

They’ve come a long way since their days at RISD, haven’t they? Last year, I saw David Byrne’s American Utopia, a brilliant show that combined a series of essays that allowed Byrne to truly connect with us in an honest, simple way. In between these treatises on the human condition was essentially a mini Talking Heads concert. I was in heaven. The show was a testament of two things: the resiliency of the band’s music after more than 30 years and the unique, yet highly relatable perspective of David Byrne. One of the longstanding testaments of this is their debut album’s closing track, “Pulled Up”.

Most of the songs on that record were overshadowed by the Talking Heads menacing anthem “Psycho Killer”. But to overlook “Pulled Up” would be a bad mistake. The song is one of the early blueprints of new wave. The instrumentation and demeanor was unlike anything else out there. Like on several other Talking Heads songs, Byrne’s paradoxical tendencies are on full display, most notably in the chorus. He seems simultaneously out of control and in control. He’s not just singing lyrics, those are emotions and expressions coming out of his mouth. Musically, we get a taste of the unique, boisterous bass playing of Tina Weymouth in lock step with boyfriend Chris Frantz’s ready-steady drum style and Harrison’s guitar riffs that cascade like little electric currents inside our brains.

“I DRIFT AWAY TO ANOTHER LAND. SLEEPING DREAMING SUCH A SIMPLE THING. I THINK OF THINGS THAT I MIGHT BE. I SEE MY NAME GO DOWN IN HISTORY.”

"THIS MUST BE THE PLACE (NAIVE MELODY)" TALKING HEADS (1983)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Wall Street

Talking Heads is one of the quintessential music acts of the decade. They helped round out the new wave genre with songs that dared to mingle in the universe of world music. No else did this. Songs like “I Zimbra”, “Slippery People”, “Born Under Punches” and “(Nothing But) Flowers” were global in scope. No one else could’ve made those songs. Their recording studios and concert stages were strewn with instruments most bands have never touched. But, if I’m honest, my favorite Talking Heads anthem is almost the antithesis of what made them so unique. The song is called “This Must Be the Place (Naive Melody)”, which played on the closing credits of Wall Street.

It lacked funk. There was not a single polyrhythm to be heard. No djembe. No congas. No surdo. It was almost all synthesizers, with Weymouth switching to guitar while Harrison played the bass lines off a Prophet synthesizer. And here’s the kicker. It was repetitive as hell. Almost monotonous. Which is the brilliance of the song. Truly a naive melody, the song hypnotizes you with its sameness. It always puts me in a good space. It always gets me good. Locks me in its groove. After hearing it, I know. This truly must be the place.

“Home, is where I want to be. But I guess I'm already there.”

"THIS MUST BE THE PLACE (NAIVE MELODY)" TALKING HEADS (1983)

You can get off to a fast start. You can sustain your opener with the main course, not filler. But can you end on a high note? Sometimes I wonder if recording a strong closer is the most difficult thing to pull off when it comes to album rock. When it comes to the cream of the crop in music, I can think of more strong openers than strong closers. Nonetheless, I still have my favorites which I’ll be featuring on Mental Jukebox all month.

Talking Heads is inarguably one of the quintessential music acts of the decade. They helped round out the new wave genre with songs that dared to mingle in the universe of world music. No else did this. Songs like “I Zimbra”, “Slippery People”, “Born Under Punches” and “(Nothing But) Flowers” were global in scope. No one else could’ve made those songs. Their recording studios and concert stages were strewn with instruments most bands have never touched. But, if I’m honest, my favorite Talking Heads anthem is almost the antithesis of what made them so unique. The song is the closer from Speaking In Tongues – “This Must Be the Place (Naive Melody)”, which also played on the closing credits of Wall Street.

It lacked funk. There was not a single polyrhythm to be heard. No djembe. No congas. No surdo. It was almost all synthesizers, with Weymouth switching to guitar while Harrison played the bass lines off a Prophet synthesizer. And here’s the kicker. It was repetitive as hell. Almost monotonous. Which is the brilliance of the song. Truly a naive melody, the song hypnotizes you with its sameness. It always puts me in a good space. It always gets me good. Locks me in its groove. After hearing it, I know. This truly must be the place.

“HOME, IS WHERE I WANT TO BE. BUT I GUESS I'M ALREADY THERE.”

"BURNING DOWN THE HOUSE" TALKING HEADS (1983)

Great album openers get the listeners to keep on listening. They can do this in any number of ways. Some openers set the tone by easing us in. Others jump right in and blow our minds from the very beginning. A great album opener isn’t an easy thing to create. More than a great song, it’s all about the sequence. Track 1 has to be the perfect starter. This month, I’m highlighting my favorites. #AlbumOpeningSongs

One of the greatest concert experiences I ever had wasn’t even a true concert. It was a Broadway show: David Byrne’s American Utopia. The show was brilliant. Byrne provided commentary on the state of the world, but he never preached or pissed anyone off. He simply plead for ways to make things better for all of us. And, it turns out, more than 75% of the music was from the Talking Heads catalog. And then here’s the kicker. this event happened as we were beginning to emerge out of the pandemic. The event was cathartic for us all. And when “Burning Down The House” came on, everyone rose to their feet. It never felt so good to dance and be with people again.

The opener to Speaking in Tongues is full of synth zaps, tumbling drum rolls, thumping bass lines, spastic guitar strums, and then there are the vocals. “Burning Down The House” beckons us in to sing along. David Byrne, as usual, sings with his whole being, putting everything he has into every word. It seemed like one of the quintessential songs of the eighties. But then hearing it again live – and on my Spotify – I’m amazed at how well it has held up. It’s just as sharp and mesmerizing as it was all those years ago.

“No visible means of support. And you have not seen nothin' yet. Everything's stuck together. And I don't know what you expect. Staring into the TV set. Fighting fire with fire.”

"PULLED UP" TALKING HEADS (1977)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 14

The Talking Heads menacing anthem “Psycho Killer” is the most well-known track on the band’s debut record. But to overlook “Pulled Up” would be a terrible mistake. The song is one of the early blueprints of new wave. The instrumentation and demeanor was unlike anything else out there. Like on several other Talking Heads songs, Byrne’s paradoxical tendencies are on full display, most notably in the chorus. He seems simultaneously out of control and in control. He’s not just singing lyrics, those are emotions and expressions that are spewing from his mouth.

“I drift away to another land. Sleeping, dreaming, such a simple thing. I think of things that I might be. I see my name go down in history.”

"SAX AND VIOLINS" TALKING HEADS (1991)

This month, the Mental Jukebox revisits the movie soundtracks of the nineties. The music I’m highlighting are some of my personal favorites. In many cases, the movies themselves were huge for me as well. But the focus will still be on the music – as always. Let’s bring on the throwback classics, the grunge, the gangsta rap, and the indie gems. #31DaysOf90sMovieSongs

Movie: Until The End Of The World

This was the last Talking Heads song ever written. In the context of modern rock history, it had a lot riding on it. And the band truly delivered. When they were asked to contribute a song for the movie Until The End Of The World, they were advised to create something that sounded like the near-future. Something that could fly for the year 2000. This was actually an ask for all the soundtrack contributors. But Talking Heads managed to accomplish the task, while staying true to their sound and to who they are.

“Sax and Violins” has Talking Heads written all over it. It has plenty of worldbeat undertones, with its complex rhythms and nuanced instrumentation that evolves throughout the song. It’s also cheeky as hell. Even with the song title. It’s. a twist of the phrase “sex and violence”. Every time I hear the song, I feel this sense of urgency to the experience. I wait with bated breath – with an anticipation that I’ll discover something new from it. Something that Byrne, Weymouth, Harrison and Frantz perhaps wanted to pass along to their fans. The last time I heard it, my ears were more attuned to the samples that appear throughout the song. I can’t even make out what they are. Shrieks? Machinery? Feedback? Maybe all of the above.

“Love keeps us together. And love will drive us insane.”

"THIS MUST BE THE PLACE (NAIVE MELODY)" TALKING HEADS (1983)

After spending an entire month looking back at the 80’s, I realized one thing. I need more. Luckily, a couple of fellow music fans on Twitter came up with the brilliant idea to highlight #30DaysOf80sMovieSongs during the month of April. I couldn’t resist at the opportunity to keep going, to keep listening, and to keep celebrating the decade that has meant more to me than any other from a musical standpoint. Each day I’m playing a different soundtrack favorite on the Mental Jukebox.

Movie: Wall Street

Talking Heads is one of the quintessential music acts of the decade. They helped round out the new wave genre with songs that dared to mingle in the universe of world music. No else did this. Songs like “I Zimbra”, “Slippery People”, “Born Under Punches” and “(Nothing But) Flowers” were global in scope. No one else could’ve made those songs. Their recording studios and concert stages were strewn with instruments most bands have never touched. But, if I’m honest, my favorite Talking Heads anthem is almost the antithesis of what made them so unique. The song is called “This Must Be the Place (Naive Melody)”, which played on the closing credits of Wall Street.

It lacked funk. There was not a single polyrhythm to be heard. No djembe. No congas. No surdo. It was almost all synthesizers, with Weymouth switching to guitar while Harrison played the bass lines off a Prophet synthesizer. And here’s the kicker. It was repetitive as hell. Almost monotonous. Which is the brilliance of the song. Truly a naive melody, the song hypnotizes you with its sameness. It always puts me in a good space. It always gets me good. Locks me in its groove. After hearing it, I know. This truly must be the place.

“Home, is where I want to be. But I guess I'm already there.”

"PULLED UP" TALKING HEADS (1977)

The decade in which I was born has given me a strange perspective on its music. I discovered pretty much all of the 70’s sounds – from prog rock to punk to disco – well after they came into the world. It wasn’t until the late 80’s that I discovered what I was missing. I would characterize the decade as one where budding genres leaped off their inspiration pads and came to fruition. For the month of February, Mental Jukebox will feature some of these gems with a different 70’s song each day. #28DaysOf70sSongs

I recently saw David Byrne’s American Utopia, a brilliant show that combined a series of essays that allowed Byrne to truly connect with us in an honest, simple way. In between these treatises on the human condition was essentially a mini Talking Heads concert. I was in heaven. The show was a testament of two things: the resiliency of the band’s music after more than 30 years and the unique, yet highly relatable perspective of David Byrne. One of the longstanding testaments of this is their debut album’s closing track, “Pulled Up”.

Most of the songs on that record were overshadowed by the Talking Heads menacing anthem “Psycho Killer”. But to overlook “Pulled Up” would be a bad mistake. The song is one of the early blueprints of new wave. The instrumentation and demeanor was unlike anything else out there. Like on several other Talking Heads songs, Byrne’s paradoxical tendencies are on full display, most notably in the chorus. He seems simultaneously out of control and in control. He’s not just singing lyrics, those are emotions and expressions coming out of his mouth. Musically, we get a taste of the unique, boisterous bass playing of Tina Weymouth in lock step with boyfriend Chris Frantz’s ready-steady drum style and Harrison’s guitar riffs that cascade like little electric currents inside our brains.

“I drift away to another land. Sleeping dreaming such a simple thing. I think of things that I might be. I see my name go down in history.”

"THIS MUST BE THE PLACE (NAIVE MELODY)" TALKING HEADS (1983)

For the month of October, I’m selecting a song each day from the decade that has the most meaning to me: the 80s. It was the decade that I grew up in. The period of time where I discovered my love for music — and explored many different genres. For the next 31 days, I’ll highlight a handful of songs that I truly loved and that were representative of the decade. #31DaysOf80sSongs

Talking Heads is one of the quintessential music acts of the decade. They helped round out the new wave genre with songs that dared to mingle in the universe of world music. No else did this. Songs like “I Zimbra”, “Slippery People”, “Born Under Punches” and “(Nothing But) Flowers” were global in scope. No one else could’ve made those songs. Their recording studios and concert stages were strewn with instruments most bands have never touched. But, if I’m honest, my favorite Talking Heads anthem is almost the antithesis of what made them so unique. The song is called “This Must Be the Place (Naive Melody)”.

It lacked funk. There was not a single polyrhythm to be heard. No djembe. No congas. No surdo. It was almost all synthesizers, with Weymouth switching to guitar while Harrison played the bass lines off a Prophet synthesizer. And here’s the kicker. It was repetitive as hell. Almost monotonous. Which is the brilliance of the song. Truly a naive melody, the song hypnotizes you with its sameness. It always puts me in a good space. It always gets me good. Locks me in its groove. After hearing it, I know. This truly must be the place.

“Home, is where I want to be. But I guess I'm already there.”

"(NOTHING BUT) FLOWERS" TALKING HEADS (1988)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The album Naked, in one sense, represents the ongoing evolution of Talking Heads. It is far less poppier than their previous studio release True Stories. But in another sense, it’s a return back to the band’s early work that was influenced largely by world music. On “(Nothing But) Flowers”, the musical trajectory leans much closer to the aesthetic and structure of Paul Simon’s iconic Graceland album. And I just love it.

One of the instrumental delights on the track is the inclusion of Johnny Marr on lead guitar. Fresh off The Smiths’ breakup, Marr jumped in to lay down a track that sounded in lock step with the Talking Heads world beat approach. But it also interestingly sounded distinctly like Johnny Marr at the same time. The similarities to his signature riff on “Heaven Knows I’m Miserable Now” are unmistakeable. With wide-ranging scales, “(Nothing But) Flowers” is also one of Byrne’s greatest vocal achievements with the band.

“This was a Pizza Hut. Now it's all covered with daisies.”

"STAY UP LATE" TALKING HEADS (1985)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Little Creatures veered toward a more country rock feel, following the new wave expressions found on Speaking in Tongues. This was a happier, more whimsical record. It contains some of my favorite Talking Heads standalone songs, including the acapella-infused “Road to Nowhere”, the spunky “And She Was” and the helplessly silly “Stay Up Late”.

Lip rolls, pig snorts and baby talk. These are the kinds of elements that surface throughout “Stay Up Late” on a bed of deliberately simple piano chords and guitar twangs. There might be a metaphor here about man and woman. Or maybe it’s an observation of enjoying oneself at another’s expense. Or this song could really just be about a cute baby and wanting to keep him up late — and that’s it. “Stay Up Late” is a snapshot of the mundane. It’s everyday life. It’s relatable. And it’s the antithesis of rock & roll attitude, which I think is what I love most about this endearing Talking Heads anthem.

“Sister, sister, he's just a plaything. We want to make him stay up all night.”

"GIRLFRIEND IS BETTER" TALKING HEADS (1983)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The entire Speaking in Tongues album is reflective of the band’s roots as design school friends. At RISD, they learned that art isn’t created in a vacuum. So much of it is seeking out inspiration from other forms and movements. Each track on the album has a unique expression. “Burning Down the House” brought on the power. “This Must Be the Place (Naive Melody)” brought on the hooks. And “Girlfriend is Better” brought on the funk.

True to the highly collaborative nature of Talking Heads, Jerry Harrison focused on guitars while bringing on longtime sideman Bernie Worrell to take the synth contributions to the next level. Harrison and Worrell are in complete lock step. It’s a beautiful thing to hear — and we get to see it with our eyes on the documentary Stop Making Sense. “Girlfriend is Better” is just one more example of the band’s ability to bend existing genres and put them into orbit around the idyllic, quirky world of Talking Heads. Not the other way around.

“We're being taken for a ride again.”

"TAKE ME TO THE RIVER" TALKING HEADS (1978)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

The biggest complement I can give about this track is that I thought it was a Talking Heads song all this time. I had no idea it was penned by Al Green. The original studio recording is really, really good. But what Talking Heads did was make it all their own. It’s one of my favorite songs from the band —not just because it’s so irresistibly catchy, but because it’s a foreshadowing of more great things to come.

In helping to shape the sound of new wave, “Take Me to the River” borrowed from blues, gospel and rock & roll. “Take Me to the River” was a blueprint for Talking Heads’ subsequent recordings and for other bands in the new wave genre. While certainly complementary, each instrument doesn’t bleed into the others. Instead, they each have their own moment. There’s a subtlety and use of restraint in Byrne’s vocals and Harrison’s synth creations, yet there’s so much character and power in every note. Meanwhile, Tina Weymouth’s bass lines are bold, muscular and playful, in stark contrast to another influential post punk era bassist: Peter Hook.

“Dip me in the river, drop me in the water. Washing me down, washing me down.”

"LIFE DURING WARTIME" TALKING HEADS (1979)

Exceptional soundtracks can make good movies great. They can also take on a life of their own, becoming a greater highlight than their respective films. In this series, I’m selecting some of my favorite soundtrack songs. While quite a few are well-known recordings, I’m also including a few that have flown under the radar over the years.

The Times Square soundtrack is filled with new wave classics and sleepers. It captures a colorful era in time through a colorful collection of songs. While I’ve never seen the movie, I’ve been drawn to the soundtrack. The inclusion of “Life During Wartime” shows a dimension of new wave that Talking Heads helped create, one that was equally reliant on song structure and instrumentation.

Talking Heads was always characterized by incorporating unusual combinations into the muisc. In “Life During Wartime”, they gave us a party music vibe, but also an art rock mentality at the same time. The short musical accents were countered by Weymouth’s steady, repetitive bass line. And at the helm, David Byrne went from smooth, melodic delivery to spastic outbursts. It was a musical crossroads of sorts, making it a perfect complement to the film about the crossroads of the world.

“This ain't no party, this ain't no disco, this ain't no fooling around.”

"BURNING DOWN THE HOUSE - LIVE IN HOLLYWOOD" TALKING HEADS (1983)

In my series “Long Live Live”, I’m highlighting some of the most revered live recordings of all time. You’ll see my musical biases, but there’s no doubt that each of these tracks played a pivotal role in shaping music history. I started Mental Jukebox last year because I needed another music listening outlet when there were no more live shows to go to. These songs remind me that nothing will ever replace the blend of atmosphere and performance captured in the live experience.

At the momentous concert in Hollywood’s Pantage Theatre, Talking Heads slowed some songs down and reinvented others. But with “Burning Down the House”, the band added more fuel and vigor to an already artfully intense song. Jerry Harrison’s keyboard mastery manifested in an impressive combination of power and precision, culminating in the minute long synth solo.

“Watch out, you might get what you're after. Cool babies, strange but not a stranger. I'm an ordinary guy burning down the house.”

"I ZIMBRA" TALKING HEADS (1979)

“I Zimbra” is the record that launched the band’s exploration into new sounds and dimensions. It’s a portal to African popular music. And it showed us how you can take the continent’s textures and rhythms and weave them into new wave. Congas, djembes and surdos mixed freely with guitars, synthesizers and bass. At the same time, “I Zimbra” was a foreshadowing of the sound that would manifest itself in the landmark album Remain in Light.

“Gadji beri bimba clandridi. Lauli lonni cadori gadjam. A bim beri glassala glandride. E glassala tuffm I zimbra.”

"THIS MUST BE THE PLACE" TALKING HEADS (1983)

This is one of my all-time favorite Talking Heads songs. And it’s a very unusual approach for the band. First off, “This Must Be the Place” is a love song. And Talking Heads doesn’t write love songs. They write about burning houses, psycho killers and insomnia. Second, it’s sort of musically unadventurous to put it mildly. It’s the same beat and hook over and over again. No progression at all. But it’s so addicting and almost hypnotic in its understated approach.

“Home, is where I want to be. But I guess I'm already there. I come home, she lifted up her wings. I guess that this must be the place.”