Talking Heads 77 TEST PRESSING (2008) 180g Kevin Gray Mastered RTI Pressed

$

150

Please see all my AUDIOPHILE listings, I combine ship.
Never sealed Test Pressing in plain white cover, appears unplayed.
180g Test Pressing Mastered by Kevin Gray at AcousTech Pressed at RTI On Rolling Stones list of 500 greatest Albums of All Time!

Plain white cover which has "October 29 2008" date and "R1-6036 A/B" printed at top right corner on front. Generic RTI test pressing label on 'A' side has same info printed on it. 'B' side label is blank.

• Matrix / Runout (Side A runout, hand-etched): 17876.1(3)... R1-6036-A KPG@ATM
• Matrix / Runout (Side B runout, hand-etched): 17876.2(3)... R1-6036-B KPG@ATM
• 
  

One of a handful of Test Pressings, as close to the master tape as you can get!!!
The debut album from New York-based Talking Heads is a slice of brilliant schizophrenic pop. David Byrne (guitar and vocals), Tina Weymouth (bass), Chris Frantz (drums) and Jerry Harrison (keyboards and guitar) create their own unique sound on classic TH tracks like "Psycho Killer" and "Uh-Oh, Love Comes To Town." The urgency of the music heralds in the beginnings of the new wave era. Talking Heads: 77 shows a band at the forefront of a movement, unwilling to conform while making a statement with their sound.


Uh-Oh, Love Comes To Town New Feeling Tentative Decisions Happy Day Who Is It? No Compassion The Book I Read Don’t Worry About The Government First Week/Last Week... Carefree Psycho Killer Pulled Up

Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal. Talking Heads threw you off balance, but grabbed your attention with a sound that seemed alternately threatening and goofy. The music was undeniably catchy, even at its most ominous, especially on "Psycho Killer," Byrne's supreme statement of demented purpose. Amazingly, that song made the singles chart for a few weeks, evidence of the group's quirky appeal, but the album was not a big hit, and it remained unclear whether Talking Heads spoke only the secret language of the urban arts types or whether that could be translated into the more common tongue of hip pop culture. In any case, they had succeeded as artists, using existing elements in an unusual combination to create something new that still managed to be oddly familiar. And that made Talking Heads: 77 a landmark album. ~ William Ruhlmann