Talking Heads’ Complete Stop Making Sense Concert Film Soundtrack Finally Sees the Expanded Release It Richly Deserves, Via Stunning New 40th Anniversary 2LP Edition From Rhino

Mike Mettler: We’re going to try something new here on AP. This will be the first in a hopefully vibrant ongoing series of joint/concurrent album reviews that will be dually bylined from myself and my esteemed colleague Mark Smotroff. In essence, we will be conducting a tag-team review dialogue, if you will, all throughout these kind of back-and-forth posts, wherein we’ll both be discussing the merits — and/or lack thereof — of key LP releases we feel deserve extra attention.

To kick off this new series, we gravitated toward co-covering the new 2LP 40th anniversary edition of the soundtrack to Talking Heads seminal 1983-shot and 1984-released concert film, Stop Making Sense, seeing how it was such an important release to the both of us upon its initial release in September 1984 — albeit in slightly differing ways, as you’ll soon find out.

Me, I bought the original 1LP Sire limited-edition release at Record Swap in downtown Homewood, Illinois, pretty much day-and-date. That particular copy came with a 20-page booklet that I kept on the table my old record player sat on back in those days for regular reference. Truth be told. I wasn’t a fan of that edition’s bland cover art (more on that in a bit), so I wound up getting a second copy, the 1984 Specialty pressing with the “big coat” half-cover image.

I also recall seeing the concert film on MTV — or did it also air on USA’s Night Flight? — and being absolutely mesmerized by the performances, the look of the band and the overall sparse yet clever set design, the ever-shifting choreography, and, yes, I loved that infamous big white suit too. I also remember at the time of seeing the film thinking something to the effect of, “Man, I wish they’d have released the entire soundtrack, not just the nine songs on this album.” Well, it only took 39 years, but I finally got my wish, thanks to Rhino’s recognition of the 40th anniversary of SMS by releasing this new 2LP set on August 18, which also happened to run relatively concurrent with A24’s 4K restoration of the film that will hit IMAX on September 22, and everywhere else in theaters on September 29.


The new Sire/Rhino 2LP limited edition’s stats are these. Stop Making Sense comes on standard-weight vinyl housed in paper sleeves — I immediately replaced them both with plastic-lined ones — with the properly replicated orange-hued Sire labels (full tracklistings of each side on one label, and the stacked, tall-type album and band name on the other). Both discs are housed together in a single slot (i.e., there’s no gatefold upgrade here), which also holds an updated 28-page, 9 x 12in (w/h) booklet with new and unpublished color and B&W photos galore, plus new liners from the core four Heads — bassist/vocalist Tina Weymouth, lead vocalist/guitarist David Byrne, drummer/vocalist Chris Frantz, and guitarist/keyboardist/vocalist Jerry Harrison (listed here in the order their respective pages appear in the booklet). Sadly, the top left corner of the cover on my copy was bent, its jagged shape following the angle of those curved paper LP sleeves. The new LPs were manufactured in Canada (most likely at GZ/Precision), with the new lacquers for the vinyl pressing having been cut at Sterling Sound by Chris Grainger. (Mark and I will discuss the album’s source material later on in this review.) While designated as a “limited edition,” we haven’t yet seen an exact number of copies to reflect what that means. Finally, the SRP for this 2LP Stop Making Sense set is $39.99.

I’m now going to turn things over to Mark at this point, and then we’ll commence trading comments back and forth throughout the balance of the review that ensues. Take it away, brotha Mark!


Mark Smotroff: Thanks, Mike! It might be hard for some to imagine it right now, but in 1983, Talking Heads were one of the biggest bands around. Their June 1983 hit album on Sire, Speaking in Tongues, led to a massively successful tour that culminated in three shows held at Hollywood’s Pantages Theater in December of that same year — at which time, the Heads made the groundbreaking concert film experience called Stop Making Sense. Directed by the late, great Jonathan Demme, the movie proved to be a remarkable snapshot of the moment, as well as acting as a forward-looking summation of the band’s career.

As Mike mentioned, in celebration of the 40th anniversary of SMS, Rhino has finally reissued the complete soundtrack — which, oddly enough, has never been released on vinyl before in its entirety.

Before we explore the album itself any further, let’s discuss the following source-material info. From the enclosed, upgraded booklet, we learned that Stop Making Sense was recorded on early digital multitrack recorders — probably 16-bit/44.1kHz at their root, since higher-res 24-bit recording was still some years off at the time. The producers had two 24-track units synced together, giving them 48 tracks to capture all the nuance and grandeur of the expanded seven-piece band (plus two background vocalists) and its intricate, polyrhythmic funk-fueled new-wave infusions.

For the analog purists starting to struggle with the “d-word” here, don’t give up hope — this album sounds pretty darn great! The new Stop Making Sense comes to you on quiet, well-centered, standard-weight black vinyl housed in good-quality plain paper inner sleeves. The no-frills cover design — while initially a bit disappointing, as Mike noted — actually recreates the promotional editions of the 1980s that included a full-color tour program type booklet in the package.


Mettler: That’s indeed a good point about the new edition mirroring the initial promos/limited-edition cover I have, Mark, but I remain quite disappointed in the selection of that option as the new SMS cover art choice myself. I much prefer the iconic Byrne in white suit in motion half-sleeve shot (as shown above), but maybe the band made a collective decision here to keep the cover art somewhat “neutral” to reinforce the idea that this is a full band album, and not a Byrne solo turn. Back to you to tell us more about what else is in the revised booklet, and any other thoughts you have about the cover.
Smotroff: The booklet has been newly expanded with previously unreleased photos and fresh remembrances from all four main bandmembers, as you noted. The images found on the original LP’s inner sleeves are presented in full color in the more deluxe booklet in the new set, so it’s not like something is being left out here.


Mettler: I do admit to liking the color picture options over the B&Ws only on the original paper sleeve anyway (see above) — plus I like the double-opposing fold-out pages in the new booklet too.
Smotroff: The stark outer cover you don’t particularly like is indeed modeled after the original 1984 limited-edition promotional version that included the booklet wrapped around it. And, as you also noted, the standard pressings had the iconic booklet cover image of David Byrne’s big suit printed on the LP cover. So, while the look of this new 2LP edition might well be confusing to some, really, it’s all a-ok in the end.

Mettler: Gotcha. How does the new vinyl sound to you?
Smotroff: In general, I’m very happy with the sound on this new edition of Stop Making Sense. The music is crisp and rich, and when you turn up the volume on your amp, it doesn’t hurt your ears — something I can’t always say about all digitally remastered recordings. Perhaps it’s the fact that the music was natively recorded in digital — not in analog and then transferred to digital, potentially losing information along the way — that leads it to actually sound quite good. We have found with other digital recordings, such as the live recordings from Frank Zappa’s final 1988 tour (such as on the 2021-released 180g 4LP set, Zappa ’88: The Last U.S. Show), some of these early forays into the digital format can sound pretty solid if the material is handled with care.

Mettler: I know certain AP readers perpetually roll their eyes at anything digital being involved in any vinyl release these days, but since SMS was a native-digital recording to start with, as you rightly point out, I don’t have a problem with how it sounds on the new 2LP set, especially in comparison to the original 1984 LPs I have and loved at the time of release.
Smotroff: That said, on this 40th anniversary expanded 2LP edition, the highs are crisp, the lows are resonantly distinct, and all of it is tied together by a nice, natural-sounding midrange. Let’s put it this way — even though this was an ’80s recording, like the film itself, the music is not overly tied to the production flavors of the day. Even the gated snare-drum sounds are kept in check, relatively speaking. In a word, this is a timeless recording, inside and out.

Mettler: Gated drums always make me cringe somewhat to this day, I must admit, and I tried not to wince too hard at how they come across during certain emphasis points on Side Two’s first two tracks, “Burning Down the House” and “Life During Wartime,” for example. Anyway, carry on. . .
Smotroff: What is ultimately most significant about this edition of Stop Making Sense is that it restores the complete track listing of the actual concert performance. Previously, this album was only available as a single disc of nine highlights, just like you said. The only way you could get the full concert was to get the VHS tape version or the laserdisc, but relatively few of us had access to either of those editions at the time — or at reasonable prices if we did.


In fact, the VHS is what my friends and I opted for back in the day, because most everyone was then getting into longer-form album offerings on CD and tape-oriented formats, so the notion of an incomplete LP version held less appeal. And while I owned and enjoyed the VHS, one of my friends who had an early VHS Hi-Fi deck was actually able to make a decent transfer of the soundtrack to cassette! That was the version I listened to for many years, including during my initial drive out to California in 1988.

It’s a little hard to fully appreciate just how significant Stop Making Sense was upon its release, and on multiple levels. Beyond the production’s technical brilliance and seeming simplicity, the film enabled many more people who hadn’t seen the band in concert to enjoy a bonafide top-tier live performance experience.


Mettler: Another fair point. I never got to see the Heads perform live myself, so viewing the full SMS concert, like I mentioned earlier, was both eye- and ear-opening, and something that made me appreciate listening to the admittedly abbreviated original LP at the time even more affecting. After watching SMS, I would then visualize what I saw in the film when songs like “Psycho Killer” and “Once in a Lifetime” would be spinning on the turntable.
Smotroff: Despite being a big fan, circumstances resulted in my not having had a chance to see Talking Heads in concert either — primarily because of college, budget constraints, travel logistics, timing, luck, etc., etc. So, by the time I was out of school and the film came out in 1984, it was a no-brainer to go see it. I remember seeing Stop Making Sense with friends on its debut run at one of the fancy high-end showcase theaters in upper-midtown Manhattan, and I seem to remember even having to buy those tickets in advance.

Mettler: How was it, seeing the original SMS movie in a theater like that?
Smotroff: It was a serious party inside that theater! The only other time I’d seen a film audience get this joyous and free-spirited was during one of those midnight showings of The Rocky Horror Picture Show and — if I’m not mistaken — also at a theatrical showing of The Grateful Dead Movie. People were dancing in their seats and in the aisles, cheering and screaming. It was almost off the hook!

As far as the crowd was concerned, they were at a Talking Heads concert, not watching a movie. And that was the magic director Jonathan Demme conveyed in the film. He captured lightning in a bottle with those Talking Heads performances, and projected it all on the silver screen.


Indeed, in the official press release for this 2LP reissue, Rhino reports the following: “Stop Making Sense was an artistic and commercial triumph when it arrived in September 1984. The film had people dancing in theatre aisles, while the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.”

In fact, drummer/vocalist Chris Frantz discusses this exact phenomenon in his contribution to the new liners, referencing a recent screening he attended in Putney, Vermont that triggered ecstatic viewer reaction: “The sold-out audience was on their feet dancing and cheering. I felt such a wave of joy. Multiple waves, in fact. I felt so proud of Tina, David, and Jerry and what we have accomplished. I’m pretty sure they feel the same way.” With this film, Talking Heads clearly created something magical and timeless.

Mettler: At this point, I should interject that all four Talking Heads are reuniting together for the first time since their induction in the Rock and Roll Hall of Fame in 2002 to discuss the SMS film after its IMAX world-premiere showing at the Toronto International Film Festival (a.k.a. TIFF) on September 11 by participating in a live-streamed Q&A moderated by Spike Lee, who directed the 2020 film version of Byrne’s American Utopia. In the meantime, the following, brief but clever YouTube clip sets the table for seeing SMS on the big screen, if you so desire.

Mettler: Anyway, back to the music. What are your favorite tracks on the new 2LP SMS set?
Smotroff: I must admit that every time I hear the Stop Making Sense version of “This Must Be the Place (Naïve Melody)” Track 2 on Side Three, I inevitably choke up a bit. My other favorites include the tunes from David Byrne’s The Complete Score From the Broadway Production of “The Catherine Wheel” (an RSD 2023 release I reviewed earlier this year, which you can read right here), including “What a Day That Was” (Track 3, Side Three) and “Big Business / I Zimbra” (Track 4, Side Three). I also love the utterly infectious “Making Flippy Floppy” (Track 3, Side Two) and that kickin’ version of “Found A Job” (Track 4, Side One). Of course, the opening one-two-punch of “Psycho Killer” (Track 1, Side One) followed by “Heaven” (Track 2, Side One) is simply stunning. They are clearly the stage-setters for the whole show.

Mettler: Hey, you took the words right out of my mouth, er, keyboard! I concur that “I Zimbra” is a revelation, and “Psycho Killer” sets a nice, acoustified tone (replete with the somewhat jarring, but quite-intended amp buzz at the very end). Since I had the Sire 45 of “Burning Down the House” long before I ever bought the Tongues LP from whence it came, I zeroed in on how that song opened Side Two (“Who got a match?”), and was rewarded with some fine details all throughout it, including the right level of keyboard emphasis behind the blended vocal punches of key phrases like “hold tight” and “all wet.” Plus, the back-half keyboard solo is slightly out front in the mix ahead of Frantz’s percussive accents that parallel his own solo on the original studio track, neither element stepping on each other in the least (“that’s right”).

Over on Side Four, vocals rule the roost, as I was quite pleased with the character of the blending of Tina Weymouth, Lynn Mabry, and Ednah Holt’s leads on “Genius of Love” (Track 1, the Heads’ interpretation of the Weymouth/Frantz sideproject Tom Tom Club’s funk-rap prototype from 1981), as well as the full scope of “better than this” and “stop making sense” (Track 2, “Girlfriend Is Better”), the lower-volume gospel-tinged repeated refrain of “Take me to the river / Drop me in the water” along with the audience’s respectful handclap encouragement (Track 3, “Take Me to the River”), and the insistent, recurring “I’m still waiting” in the back half of the show’s, and album’s, final song, “Crosseyed and Painless” (Track 4).

Anyway, Mark, I leave it to you for the final SMS assessment. I think we’re both agreed on the 9 rating for the Sound here. You have the Music rated as a full, perfect 11. I’d put it at a 10 myself, but I’m willing to defer to your goes-to-11 number in this instance since Stop Making Sense is in fact one of the best and most important live recordings of the rock era. But now, back over to you for the wrap-up!
Smotroff: I appreciate that, Mike. All that mental muscle memory — if you will — of the film is still there when you listen to this soundtrack album. With Stop Making Sense, Talking Heads created arguably one of the last great live concert albums of the 20th century, and it’s truly great to finally have the whole recording together again for the first time under one roof on vinyl. File this new 2LP Rhino edition of Stop Making Sense under AEL — Absolutely Essential Listening.

Mike Mettler is the editor of Analog Planet in addition to being the music editor of our sister site Sound & Vision, and he’s also a contributing music editor to one of our other sister sites, Stereophile.

Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for, among others, and you can see more of his impressive C.V. at LinkedIn.

Music Direct Buy It Now



2LP (Sire/Rhino)

Side One
1. Psycho Killer
2. Heaven
3. Thank You For Sending Me An Angel
4. Found A Job
5. Slippery People
6. Cities*

Side Two
1. Burning Down The House
2. Life During Wartime
3. Making Flippy Floppy
4. Swamp

Side Three
1. What a Day That Was
2. This Must Be The Place (Naïve Melody)
3. Once In A Lifetime
4. Big Business / I Zimbra*

Side Four
1. Genius Of Love
2. Girlfriend Is Better
3. Take Me To The River
4. Crosseyed And Painless

*previously unreleased

Peter Music's picture

Great review, and I look forward to hearing it. Darko had a very different take--noting too much dynamic range compression. Any thoughts on that? Thanks

AnalogJ's picture

Unfortunately, the dynamic range of this 2LP set was shown to be somewhat limited. Someone compared its dynamic range to the Blu-Ray video. The Blu-Ray showed a far greater dynamic range and the music breathed much more life.

I had the new 2LP pressing in my hand, but decided to return it and save my money. I have the Blu-Ray and it is, indeed, terrific sounding. The downside is that the added songs exist as bonus tracks.

msilgalis's picture

It still sounds pretty great and having the concert in full is just ducky.

Peter Music's picture

I have to correct my previous post. A subsequent Darko article clarified an issue that was confusing to many viewers--the vinyl does not show too much DR compression--DR is at 13. Apologies

Jazz listener's picture

quite the opposite, he marvelled at its high (13) dynamic range. The vinyl sounds excellent.

vince's picture

Bought the LPs and the opening night IMAX tix.

Thanks for the heads up! This is one of my favorite albums and I've been looking for years to buy it on vinyl.

Mike Mettler's picture
Right on, Vince!! Let us know how those 2LPs sound to you -- and congrats re the IMAX tix too... also definitely report back on how SMS sounds/looks in IMAX, please! :)
TGR's picture

I was all set to place an order at Acoustic Sounds - but it completely disappeared from their web site before I was able to do so, and it is also not available at Elusive Disc, Music Direct, nor the Rhino store. Was it withdrawn?

Mike Mettler's picture
Nope re it being withdrawn, TGR -- this is what is known as a hot seller. As I type this, there are currently 10 copies of the new SMS 2LP set available via Discogs listings, ranging in price from $29 to $111 U.S., all of which you can see here (click on the word here to go directly to the listings, or cut and paste the following in your browser):

Happy SMS 2LP hunting!

estimatedprophet's picture

8/28/1983; Compton Terrace; Tempe, AZ - may be the best show I ever saw - that-said, why not release The Whole Damn show? (that would add "Building On Fire", "Big Blue Plymouth" and "Houses In Motion" - "Houses" was one of the best songs of the show.

And while we're at it ... how 'bout releasing the Whole Damn U.S. Festival from 1982? The Heads were the best act there, too.

Mike Mettler's picture
Wholly agreed re releasing more official full live Heads shows on vinyl, estimatedprophet! That said, releasing any US Festival content is often a sticky wicket, as the saying goes, given the rights procurement issues. I've spoken with a number of artists who performed at those two US Festival events -- the first in September 1982, the second in May 1983 -- and only a few have been able to procure the rights to release any part of their sets, let alone the entirety of them. Got an interview with one of those artists in the hopper for hopefully sooner-than-later posting on AP, in fact...
allison3's picture

I would LOVE to hear the entire 1980 Wollman Rink concert properly issued, meself (aside from the few tracks on "The Name Of This Band...") Or the 1980 Rome concert. That band was HOT.

PeterPani's picture

1984 and 1989 it was released with the Cities and Big Business titles on Japanese Laserdiscs. The analog track of the 1984 LD is superior compared to the 1989 that sounds digital to me. So, if you are one of the last freaks, who connect the preamp directly to the output pin of the analog signal LD chip output than this is the one to go for :)

mpb020479's picture

The 1999 version is still my favorite. Something about the new version sounds a little off. Maybe I'm just not used to it yet, but I feel like Byrne's vocals are more prominent at the expense of some of the synths and the background vocalists.

The 1999 version sounds a little more even across the board, IMO.

allison3's picture

mpb020479 is right about the new version. It is decidedly a DIFFERENT mix than the 1984 original/1999 Special New Edition versions. Example 1: "Psycho Killer" is clearly different, as it omits the 'I have a tape I want to play' intro and the Byrne 'stumble' sections. Example 2: "What A Day That Was" sounds less forward and 'hot' compared to the earlier versions.

I don't mean to suggest that the 2023 disc is bad - it's not (and I bought a copy!) but it's DIFFERENT (plus: CITIES! :) ) And, you should get the Special New Edition version too. Decide for yourself!

Tom L's picture

if you know anything about him you would not be surprised that his vocals might be mixed a little bit higher in the new version.

Anton D's picture

You summed it up perfectly.

Mike Mettler's picture
Points well taken here, but Byrne's lead vox are not all that oppressive to my ear upon further listening. The overall musicianship of the fuller band and the background vocalists all get their respective dues all throughout the presentation.

Interesting points also re the BD and LD SMS options -- and me with my Laserdisc player currently boxed up somewhere in storage, and y'all are now having me contemplate whether I need to go find it and get it back in house and into my signal chain, hmm. . .

PeterPani's picture

I guess, we all agree that vinyl reproduction can be beautiful, but there are physical borders to cartridge playback so that analog audio will not improve anymore at big steps. Another annoying topic is the endless search for a better cartridge (cost a lot of $$$). R2R got the advantage that the tonehead is cheap ($200) and does not need that costly exchange every several years. But again, there are limits (the alignment, imperfect tape, bias) to perfection and the media is expensive (at the moment I save my pennies for the Belafonte tape and the White Stripes tape...).
I wonder, why people in the audio industry do not try to improve on analog, looking for new carriers. Since there are no new ideas around - I (I am not an inventor) see only one possibility: I am pretty sure: with a higher carrier frequency than on old LD, using the 12" discs for 2-channel analog audio alone, I am pretty sure that the performance of R2R 15 ips would be surpassed easily. The best analog tracks of some old LD's, extracted directly from the analog chip to passive preamp, are hard to beat. I know, the signal is better FM, only. But better FM in a stable stream pleases the ears. And I can imagine, the usage of a higher carrier frequency should open the analog audio band up to 120 kHz on something like a pure analog 2-channel audio laserdisc.
Or maybe, high density magnetic data storage media could be used with a new type of tonehead?
But nothing new on the analog front since mid '70's (Laserdisc). Over 50 years no ideas for a new analog carrier?
That's pretty poor!

allison3's picture

Kind of how Lou mixed down Quine's guitar in the original mix of Legendary Hearts, no?

Lemon Curry's picture

This has been measured at DR9. The blu ray,which contains all the songs, is at DR13. I don't understand why the vinyl would be compressed - we all know the cutting concessions that need to be made to have content that's always loud. Why not match the blu ray?

Jazz listener's picture

Darko measured the dynamic range of the vinyl and it came out at DR13.

Trevor_Bartram's picture

If you want to try before you buy, this is available on Amazon Music Unlimited. I prefer More Songs About Buildings & Food to any other TH album, highly recommended.

Glotz's picture

And I met Jerry Harrison and Bernie Worrell at the Coffee Trader 15 minutes after Milwaukee's 1st screening. I sat with a few of my very young friends for an hour hearing all about their experience while making the film, er the tour. He and Bernie were funny and super nice for talking with some kids in a cafe.

That being said, I really rather like 'The Name of This Band... " as much if not more.

I do have another Jerry story from the 90's but it's for another time.

Mike Mettler's picture
Love this story, Glotz! Bring on the '90s JH story when you have a moment. Spent a little bit of time with Jerry in NYC circa the time when the Heads' DVD-A 5.1 full-catalog Brick came out, mostly to discuss surround sound minutiae. Vinyl-centric talk to come someday, hopefully. :)

I am also somewhat partial to the Jerry Harrison: Casual Gods LP -- the 1988 Sire pressing, that is; I know there's a 2013 edition too, but I'm sticking with my original -- with "Rev It Up," "Man With a Gun," and "A Perfect Lie" amongst my fave tracks on it.

Glotz's picture

I got it free at a promo of his album at a record store then. Great album and really made me rethink Jerry Harrison as nothing less than a consummate musician and front man. Rev it up... indeed.

Your story request-
So it was the summer of 1993 or 4 and I was awakening from a nudge of this black-haired, thin, rocker elf-like lady-friend. She was kicking me out post haste as she was having friends over at 10am on a Sunday morning. I thought who invites friends over this early, especially with a club owner??

I just met her the night before at one of her late after-bar parties (and skinny-dipping in Lake Michigan), and aside from my ego being bruised a bit, I thought things went well and we'd get breakfast.

"Naw, I never get to see them in NY and they're both back for a week, sooo.. But, they are bringing corned beef from Benjy's." I was crushed, but always hungry for corned beef on rye. I pushed for a consolation brunch, and then I asked her who the fuck brings over corned beef for you on a Sunday morning?? She laughed and said the same thing before and it dawned on me who it was. I was instantly nervous.

Bam, door knock.. They greeted her with bags of sandwiches and matzah ball soup to match. I was reaching for the boxers pretty quick.

They talked in the kitchen as I frantically dressed and joined them using the feeble excuse about corned beef sandwiches. Being pretty private they both said they should leave and I told them I know how much Rose wants to hang with you and how busy they must be and they were very grateful, and I was so proud I didn't devolve into a fan boy.

I did tell him as I was wrapping up a to-go bag that I met him a decade earlier as teen at the 'Trader and he did remember that he called Bernie Worrell as 'Herbie Hancock' and Bernie laughed at the obvious joke. I thanked them and Rose thanked me even more for being the smart 3rd wheel looking for a smooth exit!

Mike Mettler's picture
Glotz, that is one fantabulous story!! I'd say more but... you said it all! :)

There was a second Casual Gods album that came out in 1990, Walk On Water, but I only have it on CD, and didn't get the vinyl at the time. I remember the opening track "Flying Under Radar" but not much else about it. Time for a listening refresh and another JH catalog LP reissue request for an RSD to come, methinks...

Kavahead's picture

I went to the San Francisco Civic show Dec 6th just before this was recorded/filmed in LA. The set list is nearly the same except 'Found a Job' was replaced by 'Love=>Building on Fire' and 'The Book I Read' plus two extra songs 'Big Blue Plymouth' and 'Houses in Motion'. The last two songs can be found on the 'Saratoga Psycho - Live Radio Broadcast New York 1983' LP . I have both the original versions of SMS and heard that the new version had sold out on Rhino and other major online webstores, I lucked out and found a copy from an small online record store. I wonder how many LP's were produced since it sold out so fast?
The concert was one of the best I've ever been to, I was 10ft from stage center and the floor was so packed that my arms were pinned to my sides and I was levitating without having to do anything with the audience jumping up and down. It was so hot I thought I was going to pass out.

Glotz's picture

LOVE those song replacements! The original LP is really wild and completely unique. Seeing it at my friend's house then really didn't impress me until I saw the show and realized the import of the moment and the art.

Tom L's picture

during the More Songs About Buildings and Food tour. I was sitting at a table with my girlfriend Susan when I saw a guy walking toward us and realized it was David. He looked wary, almost scared, as he headed away from the bathroom (there was no bathroom backstage). I smiled at him, tried to look totally nonthreatening, waved, and pushed an empty chair out from the table. He came up and I said "Susan, this is Dave. Hey, can you sit down for a minute?" He did! We chatted, I said how great it was that he came to town, asked if he was having a good time, he said how friendly everyone was, and finally said "I'd better go". I stood up, we shook hands and he walked away. Susan said "Who was that?" I had to laugh and said "He's the lead singer". "So, you know him?" Nope. He was just really nice.
The show was incredible. By the end all the people who didn't even know who Talking Heads were went nuts, dancing on the tables and making the spring-loaded dance floor bounce up and down during Psycho Killer and Take Me to the River. What a memory.
I didn't meet the other three original band members until 1990 during the Escape from New York tour with Blondie and the Ramones.