Physically speaking, More Songs About Buildings And Food was made by the same band that had thrown down Talking Heads: 77. Yet in terms of the music the flavor, style and attitude bare only the slightest resemblance. Of course, this is the beginning of the bands highly fruitful partnership with Brain Eno, a person even David Byrne (unique as he was) could never fully comprehend mentally. Along with Eno’s love of…well the best word would be painting abstract sound art the band themselves were fully indulging themselves in an all out rhythmic assault here.
The entire album is not percussive, but the whole concept is different; whereas the debut found a mildly quirky band really more or less exploring it’s “pop legs” this one is the birth of the Talking Heads classic sound in full form-top heavy, polyrhythmic,funky and as a result very spare underneath the clutter. The first six tunes on the album pretty much don’t let up-you have classics building a melody within the rhythm attack on “Thank You For Sending Me An Angel”, “Warning Sign” and my favorite “Found A Job”.
There are plenty of just out and out jamming on the one happening on “The Girls Want To Be With The Girls”,”With Our Love” and “The Good Thing”. Rick James may not have coined the phrase “punk-funk” yet but the world of…well funky rhythm rock would never be the same after this stuff! Once you get into tunes such as “Artists Only”,”I’m Not In Love” and “Stay Hungry” your in for music finding the Heads trying to make sense,if they truly ever can of all the rhythms around them to come up with some jerky new-wavish tunes-like the rest of it they’re not structured “pop” per se but are very singable.
Technically speaking, “Take Me To The River” is the slower tune here..it creeps up on you like a soulful monster but never attacks,just keeps creeping away until the end and it’s a nice little change.”The Big Country”….well if I read it right I can sort of relate; when I moved where we live now I found myself thinking some of the things Byrne speaks about in the lyrics. And even now I often think “you couldn’t pay me to live here”. I LOVE the blunt, freaky humor without any of the cynicism.
In terms of writing and melodicism, More Songs About Buildings And Food isn’t quite as strong as the debut. And that really isn’t the point. The songs here are built from the rhythms & beats Eno and the Heads create here. And they add up to a lot when all’s said and done. But again the remaster/re-recording really brings this music a whole new life! This will not be everyone’s favorite Heads album but considering how well they started, the masterpieces to come and the historical place this holds in their career, this is just what the doctor ordered.
Prince was the topic of a conversation between myself and Henrique for much of this past summer. One of the big related topics had to do with an episode of Calvin Lincoln’s TV show Soul School TV out of Vallejo,California. The Prince tribute had a subtext involving its guest about Prince being the prime musical of all time. Henrique,Calvin and myself all ended up agreeing that Prince’s was the prime musical figure,but of the 1980’s-not of all time. The album that probably epitomizes this,as well as Prince’s main persona,came in the very first year of the 80’s decade Dirty Mind.
Last week,this album celebrated its 36th anniversary. Hard to believe Prince’s third album is the same as as I am. So no irony is lost on me that I’m a little late to the party over-viewing this album here. Most of the songs on this particular album came to me by way of their inclusion on the compilation The Hits/The B-Sides. Upon finally hearing the album in its entirety on vinyl,it became clear that this represented the beginning of an ongoing process on Prince’s part to gain the attention of the rock audience. His first two albums in the late 70’s were funk/soul with a West Coast soft rock twist. Dirty Mind changed all that.
The main characteristic of Dirty Mind is the stripped down instrumental approach. As well as the raw demo style production. From my understanding and research,the post disco radio freeze out of black American music had a key tenant: using the than often maligned term of “disco” as a musically racist slur to keep uptempo hits from black artists from crossing over. Brittle,jerky guitar/synthesizer based new wave rock was the order of the day in the very early 80’s on pop radio. And for all intents and purposes Dirty Mind is Prince’s new wave rock album.
Most of the songs showcase pulsing synthesizers,stiffly grinding guitars with like minded bass lines and punkish “rage against the machine” attitude. What Prince added to this mix were melodic structures that were still very much in league with the funk/soul genre from which he came. He was still singing exclusively in his falsetto vocal register. The lyrical content also reflects elements of the sexual revolution from the disco era. The difference came from the explicit “punk” attitude with which Prince expressed what was generally only implied during the disco era itself.
Actually,this album is not particularly funky throughout. Even its ballads have more of a 1950’s doo-wop flavor about them. “Head”,with its naked electro Minneapolis funk,essentially set the stage for numbers such as The Time’s debut single “Get It Up” and his own “Controversy” from a year later. “Partyup”,with Morris Day on drums,closes the album with a tight new wave funk hybrid that lyrically sets the stage for his song “1999” a couple of years later. In the end Dirty Mind found Prince re-imagining his sound for what the decade required of it. And trying to reconcile the relationship between funk and rock.
With his next two albums Controversy and his breakthrough 1999, Prince pulled more funk into his mix of Minneapolis new wave. Sometimes even hybridizing for an entire song. This is the sound that Prince would make famous. Both of these albums were sleeker and had a hotter mix than anything on Dirty Mind. And of course Prince’s major breakthrough as a rock star would come in 1984’s Purple Rain. After that,Prince was primarily funk with some rock mixed in. Still Dirty Mind shows how Prince would still come into his own-even when the general music tide seemed to work against his style.
Filed under 1980's, classic albums, Dirty Mind, Minneapolis, Minneapolis Sound, naked funk, New Wave, post disco, punk funk, rock guitar, sexual revolution, synthesizer