This 1979 Talking Heads tour, promoting the release of their Fear Of Music album, would be the last to feature the stripped down quartet lineup and the first to gain them significantly more exposure in America. They had established themselves in Europe, but outside of college radio or the New England and California regions, America was just catching on to what an intriguing and captivating live band they were. These excerpts are from their appearance at Boston's prestigious Berklee School of Music, which was one of the…entire summary

David Byrne - lead vocals, guitar
Jerry Harrison - guitar, keyboards, vocals
Chris Franz - drums, vocals
Tina Weymouth - bass, vocals

This 1979 Talking Heads tour, promoting the release of their Fear Of Music album, would be the last to feature the stripped down quartet lineup and the first to gain them significantly more exposure in America. They had established themselves in Europe, but outside of college radio or the New England and California regions, America was just catching on to what an intriguing and captivating live band they were. These excerpts are from their appearance at Boston's prestigious Berklee School of Music, which was one of the wildest and most memorable performances on this breakthrough tour.

With the original B52's opening this show, there was plenty of momentum before The Heads even hit the stage. This, combined with playing before an intelligent and relatively home turf audience, ignited an inspired performance. These excerpts, originally broadcast via the King Biscuit Flower Hour, capture several highlights from this memorable night.

The band's sound was clearly evolving, containing more complex rhythmic structures and song arrangements. The new songs had increasingly funny, yet even more thought-provoking lyrics. The overt awkwardness that frontman David Byrne often displayed onstage was just beginning to be perceived as the uninhibited expression that it really was, with many now dancing to it. His unusual vocal affectations were engaging and the music was clearly beginning to resonate more deeply, particularly in a live context. "Stay Hungry" begins the recording in a somewhat ominous style, with Jerry Harrison's keyboards adding even creepier textures than the album version. "Cities," a track from Fear Of Music follows. It's a galloping romp through Byrne's stream of consciousness thoughts about city life.

The last three tracks are all classics and equally fantastic performances. First up is a thoroughly engaging rendition of the non-album single side "(My Love Goes To A) Building On Fire." The "Psycho Killer" that closes this set is outstanding, featuring Byrne firmly in the land of no self-consciousness and the entire group ripping into a wild jam with Byrne and Harrison both blazing on guitars. (Think of the heavy psychedelic fuzz guitar jam in the middle of The Chambers Brothers "Time Has Come Today" and you wouldn't be far off.) Following an ecstatic audience demanding more, they return for an encore of their unique take on Al Green's "Take Me To The River." Originally a gospel number, Talking Heads completely redefine the song and in the process make it their own.

Shortly after this tour, Talking Heads would begin overtly expanding their musical parameters. Their studio recordings would soon reach an unparalleled intensity (and density) on their next album. They would make truly inspired choices at augmenting the stage band, without diluting any of their originality. With the help of MTV and its heavy rotation of the music video for "Once In A Lifetime" the following year, the band's music would reach a much broader audience.

This recording, however, is a fine example of the original Talking Heads literally reaching the peak of their four-piece powers.

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