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Page 23 text:
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each gifted, but the band's success lies not so much in individual talent as in the layering of that talent. What sets the Talking Heads apart from most of their contemporaries is their uncanny ability to produce an eclectic, yet thoroughly integrated sound. Their instruments work as a unit, then marry lyrics for rich music with African implications. The show, laced with funky visuals including slides of everyone's favorite: suburbia, featured a varied selection of songs. They played their hits, but also their personal favorites from all five albums. In- cluded in the briskly paced program were: The Book I Read, Life During War Time, Once In A Life Time in which Byrne mimics his persona on the MTV video, Zimbia, Houses In Motion, Take Me To The River, Genius Of Love of the Tom Tom Club and the savory encore Crossed Eyed and Painless. Speaking in Tongues is a remarkable effort which makes no artistic sacrifices for the sake of radio airplay. It is project brimming with raw creativity that curiously works as a pop dance album. The LP is experimental in that the tunes were conceived prior to the words so that the lyrics perfectly embellish the rhythm or shape of the music. A product of one of the few intrinsically progressive groups today. Speaking In Tongues takes risk, but is completely palatable. It refelcts the Talking Heads' aesthetic: fresh, avant-garde, and the process of becoming. Both the album and the band have been en- thusiastically received across the U.S., and Wednes- day night's concert here in Binghamton marked no digression. The crowd was moving and mesmorized. Conclusion: People like art and can dance to it too.
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Page 22 text:
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BESEEL..o.csssgmeSERERRERRSIRERR: By Liza Schafer Sweating profusely, craning my neck, and being danced on by ardent fan X, is not my usual idea of a fun evening. But on October 5, inside the Broome County Arena, I was willing to put up with these general admission unpleasantries in exchange for the excellent concert delivered by Talking Heads. Talking Heads are not ones to take their music or art lightly and their intense, tightly structured pro- gram clearly echoed this fact. The show, which con- tained no dull moments, was uniquely kicked off by David Byrne solo who played a soulful variation of Psycho Killer on his acoustic guitar. After the classic camp tune, Tina Weymouth armed with her bass joined forces for Heaven. Then came Chris Frantz on drums and Thank You For Sending Me an Angel followed by I'm Not In Love which brought the addi- tion of Jerry Harrison and his guitar. Once the four core members established reign of the stage, a per- cussionist, a second guitarist; a second keyboardist, and two dreadlocked female backing vocalists filtered from the wings. Together, the nine musi- cians presented a potent rendition of Cities which caused a tremor of audience excitement and promp- ted many to dance. Throughout the course of the evening the Talking Heads traded musical instruments like musical chairs and demonstrated their deft versatility. Weymouth jammed on bass and synthesizer, Harrison alternated between guitar and keyboards, Frantz drummed as well as did some vocals, and Byrne, with both spirit and skill, treated the crowd to a little of everything. Needless to say, the members of the ensemble are
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