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Burning Down the House: Talking Heads and the New York Scene That Transformed Rock
On the 50th anniversary of Talking Heads, acclaimed music biographer Jonathan Gould presents the long-overdue, definitive story of this singular band, capturing the gritty energy of 1970s New York City and showing how a group of art students brought fringe culture to rock’s mainstream, forever changing the look and sound of popular music.
“Psycho Killer.” “Take Me to the River.” “Road to Nowhere.” Few musical artists have had the lasting impact and relevance of Talking Heads. One of the foundational bands of New York’s downtown 1970s music scene, Talking Heads have endured as a musical and cultural force for decades. Their unique brand of transcendent, experimental rock remains a lingering influence on popular music—despite their having disbanded over thirty years ago.
Now New Yorker contributor Jonathan Gould offers an authoritative, deeply researched account of a band whose sound, fame, and legacy forever connected rock music to the cultural avant-garde. From their art school origins to the enigmatic charisma of David Byrne and the internal tensions that ultimately broke them apart, Gould tells the story of a group that emerged when rock music was still young and went on to redefine the prevailing expectations of how a band could sound, look, and act. At a time when guitar solos, lead-singer swagger, and sweaty stadium tours reigned supreme, Talking Heads were precocious, awkward, quirky, and utterly distinctive when they first appeared on the ragged stages of the East Village. Yet they would soon mature into one of the most accomplished and uncompromising recording and performing acts of their era.
More than just a biography of a band, Gould masterfully captures the singular time and place that incubated and nurtured this original downtown New York in the 1970s, that much romanticized, little understood milieu where art, music, and commerce collided in the urban dystopia of Lower Manhattan. What emerges is an expansive portrait of a unique cultural moment and an iconoclastic band that shifted the paradigm of popular music by burning down the house of mainstream rock.
“Psycho Killer.” “Take Me to the River.” “Road to Nowhere.” Few musical artists have had the lasting impact and relevance of Talking Heads. One of the foundational bands of New York’s downtown 1970s music scene, Talking Heads have endured as a musical and cultural force for decades. Their unique brand of transcendent, experimental rock remains a lingering influence on popular music—despite their having disbanded over thirty years ago.
Now New Yorker contributor Jonathan Gould offers an authoritative, deeply researched account of a band whose sound, fame, and legacy forever connected rock music to the cultural avant-garde. From their art school origins to the enigmatic charisma of David Byrne and the internal tensions that ultimately broke them apart, Gould tells the story of a group that emerged when rock music was still young and went on to redefine the prevailing expectations of how a band could sound, look, and act. At a time when guitar solos, lead-singer swagger, and sweaty stadium tours reigned supreme, Talking Heads were precocious, awkward, quirky, and utterly distinctive when they first appeared on the ragged stages of the East Village. Yet they would soon mature into one of the most accomplished and uncompromising recording and performing acts of their era.
More than just a biography of a band, Gould masterfully captures the singular time and place that incubated and nurtured this original downtown New York in the 1970s, that much romanticized, little understood milieu where art, music, and commerce collided in the urban dystopia of Lower Manhattan. What emerges is an expansive portrait of a unique cultural moment and an iconoclastic band that shifted the paradigm of popular music by burning down the house of mainstream rock.
512 pages, Hardcover
First published June 17, 2025
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Displaying 1 - 30 of 55 reviews
August 20, 2025
" . . . in every generation, a handful of these bands of brothers and sisters have drawn on some distinctive combination of talent, imagination, determination, and providential good luck to create a body of musical work that has not only stood apart, but has also stood the the test of time. Such a group was Talking Heads . . . [The Heads] distinguished themselves from the beginning by expressing an outlook on the world that was distinctly and unabashedly modern. They did not pretend to be western outlaws, regency dandies, the 'Dead End Kids,' or Shakespeare in overalls." -- on page 444
Founded as a trio in late 1974 - initially comprised of guitarist/vocalist David Byrne, bassist Tina Weymouth, and drummer Chris Frantz; keyboardist Jerry Harrison would join shortly thereafter in 1975 - the former art school students first made their name in the bicentennial New York City music scene in tandem with notable acts like the Ramones and Blondie. As part of the 'New Wave' and/or post-punk era, their enduring tuneful output was perhaps best described by movie critic Roger Ebert (when he was reviewing their 1984 concert flick Stop Making Sense) as "Talking Heads are [actually] musical: For people who have passed over that invisible divide into the age group when rock sounds like noise, the Heads will sound like music." Songs like 'Psycho Killer,' 'Life During Wartime,' 'And She Was' or even their soulful cover of Al Green's 'Take Me to the River' still sound refreshingly great over forty years later. Former musician and journalist Gould has documented the history of the group in Burning Down the House, with a title copped from their highest-charting single (helped, no doubt, from a stylish video that played in heavy rotation on the then-nascent MTV network in 1983). While not much of a constant touring act - they were only on the road between 1977 and 1984 - their time as a band was a relatively brief fifteen years . . . but then not every rock group is blessed to be The Rolling Stones.😉 As recounted in this history, these four intelligent folks simply and sort of naturally splintered as they all reached early middle age due to settling down, getting married, having children, and the desire to work with other musicians. They increasingly didn't always get along with one another - David Byrne is a unique individual, and his possible (self-claimed) high-functioning autism may have caused difficulties in truly being on the same wavelength with his fellow musical companions - but thankfully there was no big soap operatic drama like overdoses or extramarital affairs. Additionally, author Gould - no doubt due to his own background in music - remembers to sensibly discuss the song origins / compositions alongside those personalities that created them.
Founded as a trio in late 1974 - initially comprised of guitarist/vocalist David Byrne, bassist Tina Weymouth, and drummer Chris Frantz; keyboardist Jerry Harrison would join shortly thereafter in 1975 - the former art school students first made their name in the bicentennial New York City music scene in tandem with notable acts like the Ramones and Blondie. As part of the 'New Wave' and/or post-punk era, their enduring tuneful output was perhaps best described by movie critic Roger Ebert (when he was reviewing their 1984 concert flick Stop Making Sense) as "Talking Heads are [actually] musical: For people who have passed over that invisible divide into the age group when rock sounds like noise, the Heads will sound like music." Songs like 'Psycho Killer,' 'Life During Wartime,' 'And She Was' or even their soulful cover of Al Green's 'Take Me to the River' still sound refreshingly great over forty years later. Former musician and journalist Gould has documented the history of the group in Burning Down the House, with a title copped from their highest-charting single (helped, no doubt, from a stylish video that played in heavy rotation on the then-nascent MTV network in 1983). While not much of a constant touring act - they were only on the road between 1977 and 1984 - their time as a band was a relatively brief fifteen years . . . but then not every rock group is blessed to be The Rolling Stones.😉 As recounted in this history, these four intelligent folks simply and sort of naturally splintered as they all reached early middle age due to settling down, getting married, having children, and the desire to work with other musicians. They increasingly didn't always get along with one another - David Byrne is a unique individual, and his possible (self-claimed) high-functioning autism may have caused difficulties in truly being on the same wavelength with his fellow musical companions - but thankfully there was no big soap operatic drama like overdoses or extramarital affairs. Additionally, author Gould - no doubt due to his own background in music - remembers to sensibly discuss the song origins / compositions alongside those personalities that created them.
June 18, 2025
If you’re a Talking Heads fan, you’ll love this book. But there’s also a lot in here for folks not familiar with them, too. Gould has also written a history of the music and art scene in 1970s New York, providing a cultural and musical narrative that was much more interesting and in-depth than I expected.
I requested an ARC of the book from the publisher when I saw the book was announced because I’ve been a Talking Heads fan for five years but hadn’t known much about the band itself - just the music. This was a great story, Gould is a really talented writer that held my attention well, and I also came away with a very long playlist of referenced songs and bands from the book. I’ve read a few music memoirs over the last few years — Jann Wenner’s Like a Rolling Stone, Dave Grohl’s The Storyteller, and while Burning Down the House isn’t a memoir, it was definitely my favorite. Highly recommend!
I requested an ARC of the book from the publisher when I saw the book was announced because I’ve been a Talking Heads fan for five years but hadn’t known much about the band itself - just the music. This was a great story, Gould is a really talented writer that held my attention well, and I also came away with a very long playlist of referenced songs and bands from the book. I’ve read a few music memoirs over the last few years — Jann Wenner’s Like a Rolling Stone, Dave Grohl’s The Storyteller, and while Burning Down the House isn’t a memoir, it was definitely my favorite. Highly recommend!
June 6, 2025
On the eve of the 50th anniversary of Talking Heads live debut at CBGB in New York on June 5, 1975, author Jonathan Gould presents a fascinating biographical portrait of a band filled with meticulous research and plenty of local color regarding the "punk" and new wave scene in NYC in the mid to late 70's. In addition to discussing the genesis of Talking Heads, Gould also discusses many of the other bands playing the Clubs like CBGB, including the Ramones, Patti Smith, the New York Dolls, Velvet Underground etc.
Gould also hypothesizes that David Byrne was an undiagnosed "high functioning autistic" or on the Asperger's spectrum, as an explanation for some of his quirkiness when the Heads first began performing, and well as an explanation for the latter dissension in the band when Byrne took credit for most of their early success, and shut out Tina Weymouth and Chris Franz from royalties, as well as the song writing process.
As a late comer to Talking Heads ( probably around Fear of Music and Remain in Light ) it gave great insight into the artistic process of writing their material, learned from their long time producer Brian Eno, which involved the band playing the music/rhythms etc, and voicing gibberish over it until words/lyrics formed. I had seen an interview with Byrne discussing this writing style when discussing Burning down the House but was not aware that this song writing method had been going on for several albums. It was when the band moved away from Brian Eno that Byrne started writing material himself and shutting out the rest of the band that started the downfall of this ground breaking quartet ( later expanded during Stop Making Sense era ).
As much as I enjoyed the book, like the Heads material, it got a little tedious near the end. Gould's style of discussing the making of a record, followed by a chapter regarding the album itself and the public's reaction to same dragged on with the latter albums that were not as well received. I think even the author was tiring of the material from True Stories to Naked, and the various band members solo output.
A ,must read for any true Talking Heads fan, or even a fan of the punk/new wave bands from NYC and the CBGB era.
Gould also hypothesizes that David Byrne was an undiagnosed "high functioning autistic" or on the Asperger's spectrum, as an explanation for some of his quirkiness when the Heads first began performing, and well as an explanation for the latter dissension in the band when Byrne took credit for most of their early success, and shut out Tina Weymouth and Chris Franz from royalties, as well as the song writing process.
As a late comer to Talking Heads ( probably around Fear of Music and Remain in Light ) it gave great insight into the artistic process of writing their material, learned from their long time producer Brian Eno, which involved the band playing the music/rhythms etc, and voicing gibberish over it until words/lyrics formed. I had seen an interview with Byrne discussing this writing style when discussing Burning down the House but was not aware that this song writing method had been going on for several albums. It was when the band moved away from Brian Eno that Byrne started writing material himself and shutting out the rest of the band that started the downfall of this ground breaking quartet ( later expanded during Stop Making Sense era ).
As much as I enjoyed the book, like the Heads material, it got a little tedious near the end. Gould's style of discussing the making of a record, followed by a chapter regarding the album itself and the public's reaction to same dragged on with the latter albums that were not as well received. I think even the author was tiring of the material from True Stories to Naked, and the various band members solo output.
A ,must read for any true Talking Heads fan, or even a fan of the punk/new wave bands from NYC and the CBGB era.
June 28, 2025
I don't have an emotional connection to Talking Heads, so I picked up this book because 1. I, in general, love a music biography, and 2. I expected bit more about the scene and the New York of that era. I didn't love the mini album/track reviews throughout, and some of it felt a bit rote, even if it was very detailed, but I really knew nothing about the band's dynamics, so I am walking away from this with more appreciation of the members as people.
August 7, 2025
Been in love with Talking Heads since I was but a wee one, but never really dug into their history. Best part of this book is the early going, seeing who these four were when they met, and how they honed the band into a performing machine even before recording their first album. The book slowly and consistently loses steam after that. It's too bad Gould couldn't get any of the Heads to talk to him, even considering the potentially loopy and contradictory stories they might have told. Instead the accounts of recording albums and touring feel like observing from too high a distance. Weirdest of all are Gould's track by track descriptions of every song on every album. These appear to be written for readers who've never actually heard the songs. They're just literal descriptions, along with Gould's odd attempts at literalizing the meaning of Byrne's lyrics. Is anyone reading this book who doesn't know the music? By Fear of Music, I knew to skip these parts.
Gould appears at first to be in ways refuting the idea that Byrne was the sole reason for Talking Heads' success, yet by the end of the book the clear take-away is the same as it's always been: Byrne was the genuis, the other three, lacking any real musical talent, lucked into being around him. This despite Gould noting that whatever Byrne's successes later in life, his best music was made with Talking Heads. He chalks this up to the other Heads arguing with him all the time, thus bringing the music alive through their contentiousness. He further backs up this argument by noting how the other Heads' later musical endeavors were unsuccessful and showed that they failed to learn the art of songwriting while working with Byrne. This seems a peculiar argument. How were they going to "learn" to write songs the way Byrne did? Why did they have to? Would only that prove they were of value in the Talking Heads era? Not even Byrne has had any successes to match those days. Did he fail to learn something too? Like, perhaps, how to collaborate?
Bands work because of what they create together. Gould can criticize Weymouth's bass playing, Franz's drumming, and Harrison's voice all he wants, but it's whatever those three brought to the band musically that, when combined with Byrne, made the band what it was. Was Byrne the freaky genius who tied it all together? Obviously. But not even the genius could manage to make a record anywhere near as good as the Heads' records once he left them. This should tell us plenty about the rest of the band, and their importance to the music.
Gould also writes this baffling paragraph: "Yet while real innovation in popular music is rare, human beings are exceedingly skilled at imitation. The kid guitarist on the internet who can reproduce every lick that Jimi Hendrix ever played takes nothing away from Hendrix's creative genius; he merely demonstrates that with practice, practice, practice, a dedicated player can learn to reproduce even the most complex musical ideas." No. Wrong. It's not what Hendrix played, it's how he played it. As it is with all musicians. Anyone with a plugged-in electric guitar can play "the note" in Machine Gun. So what? It's not that Jimi "innovated" a note. It's HOW he played it. Hendrix is IN that note. Nobody can imitate that.
This may well explain Gould's disdain for the other members of Talking Heads, imagining that anyone could have played the "notes" they played just as well, so long as Byrne was there providing the genius. Yet the point remains, that no matter their lack of virtuosity on their instruments (a lack shared, of course, by Byrne himself), it's how they played that matters, and it's who they are--and who they're playing with--that determines how they play.
I am also going to be awfully suspicious of an author writing about music who refers to Led Zeppelin as a trio.
But so anyway, the book is deeply researched (outside of comments from the Heads themselves, but then they've surely had enough of recounting their pasts), and at least the first half paints a fascinating picture of the band in its early days I was glad to learn about.
Gould appears at first to be in ways refuting the idea that Byrne was the sole reason for Talking Heads' success, yet by the end of the book the clear take-away is the same as it's always been: Byrne was the genuis, the other three, lacking any real musical talent, lucked into being around him. This despite Gould noting that whatever Byrne's successes later in life, his best music was made with Talking Heads. He chalks this up to the other Heads arguing with him all the time, thus bringing the music alive through their contentiousness. He further backs up this argument by noting how the other Heads' later musical endeavors were unsuccessful and showed that they failed to learn the art of songwriting while working with Byrne. This seems a peculiar argument. How were they going to "learn" to write songs the way Byrne did? Why did they have to? Would only that prove they were of value in the Talking Heads era? Not even Byrne has had any successes to match those days. Did he fail to learn something too? Like, perhaps, how to collaborate?
Bands work because of what they create together. Gould can criticize Weymouth's bass playing, Franz's drumming, and Harrison's voice all he wants, but it's whatever those three brought to the band musically that, when combined with Byrne, made the band what it was. Was Byrne the freaky genius who tied it all together? Obviously. But not even the genius could manage to make a record anywhere near as good as the Heads' records once he left them. This should tell us plenty about the rest of the band, and their importance to the music.
Gould also writes this baffling paragraph: "Yet while real innovation in popular music is rare, human beings are exceedingly skilled at imitation. The kid guitarist on the internet who can reproduce every lick that Jimi Hendrix ever played takes nothing away from Hendrix's creative genius; he merely demonstrates that with practice, practice, practice, a dedicated player can learn to reproduce even the most complex musical ideas." No. Wrong. It's not what Hendrix played, it's how he played it. As it is with all musicians. Anyone with a plugged-in electric guitar can play "the note" in Machine Gun. So what? It's not that Jimi "innovated" a note. It's HOW he played it. Hendrix is IN that note. Nobody can imitate that.
This may well explain Gould's disdain for the other members of Talking Heads, imagining that anyone could have played the "notes" they played just as well, so long as Byrne was there providing the genius. Yet the point remains, that no matter their lack of virtuosity on their instruments (a lack shared, of course, by Byrne himself), it's how they played that matters, and it's who they are--and who they're playing with--that determines how they play.
I am also going to be awfully suspicious of an author writing about music who refers to Led Zeppelin as a trio.
But so anyway, the book is deeply researched (outside of comments from the Heads themselves, but then they've surely had enough of recounting their pasts), and at least the first half paints a fascinating picture of the band in its early days I was glad to learn about.
August 25, 2025
Excellent thorough bio of the Talking Heads.
Usually I wind up hating one of the musicians. I thought that was happening with Tina, but by the end I just found her sad and pathetic. In short: David (singer / guitar) and Chris (drums) wanted to start a band. They needed a bass player, so David taught Chris’s girlfriend Tina how to play bass. She hasn’t pursued music beyond the Talking Heads, she doesn’t write, she’s a mediocre bass player.
But she has a major chip on her shoulder, because while she got money and fame, she (understandably) never got any credit. So in her mind David is a villain.
Part of their issue is she is unwoke about his autism. For example, she says he is incapable of friendship, but here’s a thought: they weren’t friends. He treated her like an employee, which she was.
Usually I wind up hating one of the musicians. I thought that was happening with Tina, but by the end I just found her sad and pathetic. In short: David (singer / guitar) and Chris (drums) wanted to start a band. They needed a bass player, so David taught Chris’s girlfriend Tina how to play bass. She hasn’t pursued music beyond the Talking Heads, she doesn’t write, she’s a mediocre bass player.
But she has a major chip on her shoulder, because while she got money and fame, she (understandably) never got any credit. So in her mind David is a villain.
Part of their issue is she is unwoke about his autism. For example, she says he is incapable of friendship, but here’s a thought: they weren’t friends. He treated her like an employee, which she was.
August 19, 2025
4.5 stars!
My only point of contention with the author (and it’s not a strong one) is over his insistence that the album/studio version of “Take Me To The River” is “objectively” better than the Stop Making Sense live version lol…
However, I wholeheartedly commend him for the way he handles Tina’s persistent, over-exaggerated, and malicious smear campaign against David Byrne— who, as far as I can tell, at least somewhat owns up to his wrongdoings!
Something I also found welcome was how Gould portrayed the mid-seventies NYC/CBGB music scene… completely shorn of the starry-eyed, worship-laden treatment that I was exposed to and succumbed to when I was a teenager (which left me gradually disillusioned each time I visited the city with former friends, one of whom was completely beholden to it (the city and its mythos) even in its current state. I have since grown and do not hold it to any high esteem whatsoever LMAO it is important for me to articulate this cuz right as I started reading the book I was afraid that that’s the image that would’ve been presented to me which would’ve turned me off from reading any further SO SHOUTOUT TO JONATHAN GOULD!!!!!!)
My only point of contention with the author (and it’s not a strong one) is over his insistence that the album/studio version of “Take Me To The River” is “objectively” better than the Stop Making Sense live version lol…
However, I wholeheartedly commend him for the way he handles Tina’s persistent, over-exaggerated, and malicious smear campaign against David Byrne— who, as far as I can tell, at least somewhat owns up to his wrongdoings!
Something I also found welcome was how Gould portrayed the mid-seventies NYC/CBGB music scene… completely shorn of the starry-eyed, worship-laden treatment that I was exposed to and succumbed to when I was a teenager (which left me gradually disillusioned each time I visited the city with former friends, one of whom was completely beholden to it (the city and its mythos) even in its current state. I have since grown and do not hold it to any high esteem whatsoever LMAO it is important for me to articulate this cuz right as I started reading the book I was afraid that that’s the image that would’ve been presented to me which would’ve turned me off from reading any further SO SHOUTOUT TO JONATHAN GOULD!!!!!!)
August 8, 2025
This is a comprehensive, and I’ll stress that word, history of the band and its members; Gould’s research is impeccable as would be expected, and attends to every minor detail.
For that reason, it will be enjoyed only, I think, by fans of the band.
Amongst its strengths are that it delves into not just the group’s influences, and those that affected the Heads indirectly as well, so it works as a history of pop music from the mid-seventies and eighties also.
Something though that I found strange throughout, was that the author, Gould, is often quite critical of certain tracks, live performances and other aspects of the band’s internal dealings; far more so than you would expect a biographer to be.
I’ve listened to this on audiobook over the last month. So detailed it is, that it required some sticking with.. at times..
For that reason, it will be enjoyed only, I think, by fans of the band.
Amongst its strengths are that it delves into not just the group’s influences, and those that affected the Heads indirectly as well, so it works as a history of pop music from the mid-seventies and eighties also.
Something though that I found strange throughout, was that the author, Gould, is often quite critical of certain tracks, live performances and other aspects of the band’s internal dealings; far more so than you would expect a biographer to be.
I’ve listened to this on audiobook over the last month. So detailed it is, that it required some sticking with.. at times..
August 26, 2025
And you may ask yourself, do I really want to read more than 400 pages about Talking Heads? I asked myself this, and as it turns out, I'm glad I decided yes. If nothing else, the book is a good counter-balance to Remain in Love: Talking Heads, Tom Tom Club, Tina, the 2020 memoir by Talking Heads drummer Chris Frantz. Here, the author makes it clear that although Byrne was prone to anti-social and self-centered behavior, Tina Weymouth also contributed to the dissension and bitterness that eventually broke up the band. At any rate, Gould's book provides an in-depth account of the band's art school roots and the scene around CBGBs that launched a number of successful punk and new-wave bands. The book delves into the creative process behind each Talking Heads album, with a cut-by-cut analysis (occasionally to the point of overkill) along with a summary of each album's critical reception. As the book winds down with the band's 1991 breakup and then eventual induction to the Rock'n'Roll Hall of Fame in 2001, Gould argues that very few bands have had the "distinctive combination of talent, imagination, determination, and providential good luck to create a body of musical work that has not only stood apart, but has also stood the test of time." I agree with that assessment and even if you don't want to read about Talking Heads, I'd urge you to watch (or re-watch) their 1984 concert movie "Stop Making Sense" to appreciate what a great band they were.
July 26, 2025
On the plus side, hats off to Gould for telling the band's story within the context of the other emerging east coast artists of the day. The early days of Talking Heads coincided with my college years, so for me this was an enjoyable trip back to that time. On the slightly negative side, Gould devotes many pages to demonstrating his knowledge of music criticism in general and the songs in particular; you'd need to be a real TH nerd to instantly recall every song on every album that he mentions. I kept YouTube handy while I read, just to jog my memory.
September 11, 2025
Very informative! Gould does go a bit long on certain topics, especially early on, but the rock history and history of the band and its members is very thorough and well researched. I learned a ton of new and interesting information. Gould also dives into the albums and their songs, sometimes broadly and sometimes very deeply, so that was cool to see too, although I read many of the songs differently than Gould does, even with the context.
Want to read
July 19, 2025Reminded how in college we had some Grateful Dead fans at the end of the corridor, so we put up signs their direction that read Dead Heads and a sign in our direction that read Talking Heads
August 5, 2025
Talking Heads (not *The* Talking Heads) have been my favorite group for several years now, so I was excited to read a full biography on the eve of the band's 50th. While I have some quibbles on how the narrative progresses, and at times the tone, I did come away with a stronger idea of Talking Heads as both a group and the four people who comprised it. There's a lot to learn and enjoy for fans, but I'm not sure how entertained non-fans will be unless they're just crazy about new wave.
The book does an especially good job of placing the band in the context of the burgeoning punk and new wave movements and demonstrating what made it so unique. You get a sense of who each of these people were before they came together, which informs both their relationship to each other and the music they create together. As someone who knew the broad strokes of the four members but knew far more about David Byrne than Chris Frantz, Tina Weymouth, and Jerry Harrison, I appreciate that this book wasn't fully the David Byrne show.
Some gripes: the author's mini-review of every song on each Talking Heads album felt unnecessary. Reviewing and analyzing the entire back catalogue could take up an entire book, so in most cases spending a paragraph or less didn't allow much room for real depth. These detours at times took away from the narrative momentum as well, though I'd allow that a middle ground of focusing on the most significant songs (Psycho Killer, Once in a Lifetime, etc.) with more depth might have worked better for me.
Anyone familiar with Talking Heads is probably aware of the interpersonal ... difficulties, so I wasn't surprised that this was a major throughline, nor was I surprised at the author's description of David Byrne as an artist and as a (difficult) man. Some of what's said about the other three members though, even if I don't doubt the accuracy of it, struck me as a little harsh in tone. Now biographies are difficult in this way because you want to allow for colorful writing and not "just the facts, ma'am," but at times it went too far for me in how the others were described.
Lastly, the author interweaves the Heads' story with that of New York City in the 1970s and 1980s, but that fell a little flat for me. That's not to say New York isn't important as a setting for the band's development, but that much of what was written didn't feel necessary for creating that context.
Overall it was an enjoyable and informative read that was admirably far from hagiography, even if that's almost to a fault. It's a great read for Talking Heads fans who may not know everything about its history.
The book does an especially good job of placing the band in the context of the burgeoning punk and new wave movements and demonstrating what made it so unique. You get a sense of who each of these people were before they came together, which informs both their relationship to each other and the music they create together. As someone who knew the broad strokes of the four members but knew far more about David Byrne than Chris Frantz, Tina Weymouth, and Jerry Harrison, I appreciate that this book wasn't fully the David Byrne show.
Some gripes: the author's mini-review of every song on each Talking Heads album felt unnecessary. Reviewing and analyzing the entire back catalogue could take up an entire book, so in most cases spending a paragraph or less didn't allow much room for real depth. These detours at times took away from the narrative momentum as well, though I'd allow that a middle ground of focusing on the most significant songs (Psycho Killer, Once in a Lifetime, etc.) with more depth might have worked better for me.
Anyone familiar with Talking Heads is probably aware of the interpersonal ... difficulties, so I wasn't surprised that this was a major throughline, nor was I surprised at the author's description of David Byrne as an artist and as a (difficult) man. Some of what's said about the other three members though, even if I don't doubt the accuracy of it, struck me as a little harsh in tone. Now biographies are difficult in this way because you want to allow for colorful writing and not "just the facts, ma'am," but at times it went too far for me in how the others were described.
Lastly, the author interweaves the Heads' story with that of New York City in the 1970s and 1980s, but that fell a little flat for me. That's not to say New York isn't important as a setting for the band's development, but that much of what was written didn't feel necessary for creating that context.
Overall it was an enjoyable and informative read that was admirably far from hagiography, even if that's almost to a fault. It's a great read for Talking Heads fans who may not know everything about its history.
August 9, 2025
I picked up this book since I was interested in learning more about Talking Heads and because I love a music biography, particularly one that claims to delve into the setting of 1970s New York. I was disappointed. This biographer spent a ton of real estate simply describing songs that Talking Heads wrote, in pages of technical detail. When I read the afterword and realized that no one from the band agreed to speak with him, this made more sense. This read like a fan fic account of Talking Heads but with none of the passion. It actually made me dislike Talking Heads more. I was expecting immersion into the era's music scene and instead got a list of tracks that the band produced, with the author's opinions on which ones were the best, and frequent defenses of David Byrne's occasionally bad behavior. Smh. Not for me.
August 6, 2025
Jonathan Gould 'Burning Down the House: Talking Heads and the New York Scene That Transformed Rock' - spaljeno obećanje
Pišući o recentnom reizdanju drugog albuma Talking Headsa, "More Songs About Buildings and Food" spomenuli smo pedesetu obljetnicu ovog ključnog američkog new wave benda u sklopu kojega je između ostalog objavljena i njihova biografija "Burning Down the House" podnaslovljena "Talking Heads and the New York Scene That Transformed Rock" Jonathan Gould, novinar čeasopisa The New Yorker, pruža detaljni pogled na petnaestogodišnju karijeru ovog sastava započete 1975. na pozornici kluba CBGB('s) koju su dijelili s izvođačima i bendovima kao što su Television, Patti Smith i Ramones u formativnom razdoblju punka.
Upravo to razdoblje najbolje je opisano u Gouldovoj knjizi i to ne samo iz perspektive glazbene scene, već u širem pogledu na New York sedamdesetih koji se nalazi u upravljačkoj krizi, s ulicama zatrpanim smećem i serijskim ubojicom kasnije poznatim pod imenom Son of Sam koji napada slučajne žrtve, što će koincidirati i s prvim singlom Talking Headsa, "Psycho Killer". Tu su i nedavno izgrađeni tornjevi World Trade Centera koji će postati poprištem za razne častohlepne performere koji će ga koristiti za točke poput hoda po žici između njegovih zgrada, skok s padobranom i penjanje po njegovim zidovima.
Za to vrijeme studenti likovne akademije na Rhode Islandu, bubnjar Chris Frantz i njegova djevojka, basistica Tina Weymouth udružit će snage sa pjevačem Davidom Byrneom čije će neobičnost kasnije biti dijagnosticirana kao oblik Aspergerovog sindroma, poremećaja iz spektra autizma, a trio će svoju paranoičnu glazbu izvoditi statično i u stilu koji namjerno odbacuje teatralnost i pretenziju tadašnjeg "korporativnog rocka", na tragu jednog od svojih suvremenika i ranih uzora, otkačenog štreberskog tipa Jonathana Richmana čijeg će klavijaturista Jerryja Harrisona ubro uposliti da zaokruži ono što će postati poznato kao "klasična postava" Talking Headsa.
Kako bend otvara svoju diskografiju s prvim albumam "Talking Heads: 77", Gould će svoju knjigu pretvoriti u tipičnu biografiju u kojoj se drži gustog rasporeda izbacivanja po jedne ploče godišnje i uglavnom koncipirati poglavlja tako da prate nastanak svakog albuma, da bi uslijedila neka vrsta opisa pjesmu po pjesmu, a zatim i kratko praćenje koncertnih aktivnosti i reakcije na objavljeno. "Burning Down the House" ovdje gubi dio svoje privlačnosti koju je imalo kad se više bavilo vanjskim aspektima vremena i prostora koji su djelovali na bend.
Ostatak priče fanovima će biti poznat, od suradnje s Brianom Enom započete na drugoj ploči, do njenog prekida nakon što su on i Byrne autorski preoteli kormilo od ostatka benda (Gould kaže da su kao umjetnici jedan iz drugoga izvlačili ono najbolje, a kao ljudi ono najgore), što će kulminirati njihovim nekolegijalnim preuzimanjem zasluga na klasiku "Remain in Light" gdje su njihova imena upisana u prvome planu, a što će u nastavku karijere sve više smetati ostale članove i proširivati rascjep u kojemu će se naći s frontmenom u kojega će biti usmjerene oči javnosti.
Kruna toga doći će kad profil u New York Timesu za koji su mislili da će biti o bendu bude posvećen samo Byrneu, nakon čega će uslijediti i njegovo pojavljivanje na naslovnici časopisa Time. No, kako Gould poentira, njihovo nezadovoljstvo je temeljeno u tome da oni nisu bili u stanju osvijestiti ono što je cijelom ostatku svijeta dotad već postalo jasno, a to je da David djeluje na "sasvim drugačijoj razini talenta, ambicije i imaginacije" nego ostatak benda.
Uostalom, to će se biti i plastično dokazano kad Tina i Chris sa svojim vlastitim projektom Tom Tom Club ne postignu mnogo više od jednog hita, a da ni ne spominjemo Harrisonov izlet u solo vode. No, Gouldova antipatija prema njihovom radu izvan matičnog benda graniči s nepristojnošću. "Pravo je čudo da nisu načuli ništa o pisanju pjesama radeći deset godina s Davidom Byrneom," piše tako na jednom mjestu.
Ipak, nemoguće je ne primjetiti Gouldov negativan stav prema gotovo svakom glazbeniku o kojemu piše u svojoj knjizi, a često pretjarano kritizira bilo talent ili narav svakog od članova Talking Headsa. Ti slojevi žući nakupljaju se prema kraju knjige u toj mjeri da se moramo upitati zašto ih mora biti toliko. Ljudi poput nas koji pišu u glazbi obično su pogonjeni svojom ljubavlju prema pjesmama i njihovim autorima i pokušavaju opisati genij koji stoji iza njih.
Za razliku od toga, kod Goulda često dobivamo samo neosnovanu kritiku, kako onih izvođača koji su mu glavna tema knjige, tako i drugih veličina, između ostalih i jednog Velvet Undergrounda koji kritizira kao "pretenciozne hipstere" s nagnućem prema "ironiji i amoralnosti", a samo bi netko s ograničenim shvaćanjem njihove glazbe mogao biti u stanju svesti jedan takav bend na ovakvu opasku. (S druge strane Violent Femmes opisuje kao "Velvet Undergrounds acolytes with a sideline in Christianity", što je vjerojatno najbezvezniji opis ovog benda ikad zapisan na papir.)
"Burning Down the House" tako ostaje knjiga koja je izdala svoje gusto tkano obećanje pogleda na vrijeme, mjesto i okolnosti koje su manifestirale Talking Heads kao jedno od glavnih imena novog glazbenog pokreta i njujorške scene koju zaziva u naslovu, e da bi je brzo u potpunosti smetnuo s uma. Sve to Gould ispušta u korist linearnog prezentiranja njihovog puta i konačnog raspleta, točnije primitka u Kuću slavnih rock and rolla, uz codu koja se kratko osvrće na Byrneov projekt "American Utopia".
Autor onome što bi mu trebalo biti najbitnije, a to je dohvaćanje dosega talenta Talking Headsa, dolazi rijetko, a možda mu je najbliže kad opisuje njihov rad s Jonathanom Demmejem na "Stop Making Sense", vjerojatno najboljem koncertnom filmu svih vremena. Vjerujem da ova knjiga na većini svojih ostalih petstotinjak stranica ni upućenim obožavateljima niti znatiželjnicima u konačnici neće imati za ponuditi onoliko koliko je mogla.
(Mariner Books, tvrdi uvez, 512 stranica, 2025.)
Pišući o recentnom reizdanju drugog albuma Talking Headsa, "More Songs About Buildings and Food" spomenuli smo pedesetu obljetnicu ovog ključnog američkog new wave benda u sklopu kojega je između ostalog objavljena i njihova biografija "Burning Down the House" podnaslovljena "Talking Heads and the New York Scene That Transformed Rock" Jonathan Gould, novinar čeasopisa The New Yorker, pruža detaljni pogled na petnaestogodišnju karijeru ovog sastava započete 1975. na pozornici kluba CBGB('s) koju su dijelili s izvođačima i bendovima kao što su Television, Patti Smith i Ramones u formativnom razdoblju punka.
Upravo to razdoblje najbolje je opisano u Gouldovoj knjizi i to ne samo iz perspektive glazbene scene, već u širem pogledu na New York sedamdesetih koji se nalazi u upravljačkoj krizi, s ulicama zatrpanim smećem i serijskim ubojicom kasnije poznatim pod imenom Son of Sam koji napada slučajne žrtve, što će koincidirati i s prvim singlom Talking Headsa, "Psycho Killer". Tu su i nedavno izgrađeni tornjevi World Trade Centera koji će postati poprištem za razne častohlepne performere koji će ga koristiti za točke poput hoda po žici između njegovih zgrada, skok s padobranom i penjanje po njegovim zidovima.
Za to vrijeme studenti likovne akademije na Rhode Islandu, bubnjar Chris Frantz i njegova djevojka, basistica Tina Weymouth udružit će snage sa pjevačem Davidom Byrneom čije će neobičnost kasnije biti dijagnosticirana kao oblik Aspergerovog sindroma, poremećaja iz spektra autizma, a trio će svoju paranoičnu glazbu izvoditi statično i u stilu koji namjerno odbacuje teatralnost i pretenziju tadašnjeg "korporativnog rocka", na tragu jednog od svojih suvremenika i ranih uzora, otkačenog štreberskog tipa Jonathana Richmana čijeg će klavijaturista Jerryja Harrisona ubro uposliti da zaokruži ono što će postati poznato kao "klasična postava" Talking Headsa.
Kako bend otvara svoju diskografiju s prvim albumam "Talking Heads: 77", Gould će svoju knjigu pretvoriti u tipičnu biografiju u kojoj se drži gustog rasporeda izbacivanja po jedne ploče godišnje i uglavnom koncipirati poglavlja tako da prate nastanak svakog albuma, da bi uslijedila neka vrsta opisa pjesmu po pjesmu, a zatim i kratko praćenje koncertnih aktivnosti i reakcije na objavljeno. "Burning Down the House" ovdje gubi dio svoje privlačnosti koju je imalo kad se više bavilo vanjskim aspektima vremena i prostora koji su djelovali na bend.
Ostatak priče fanovima će biti poznat, od suradnje s Brianom Enom započete na drugoj ploči, do njenog prekida nakon što su on i Byrne autorski preoteli kormilo od ostatka benda (Gould kaže da su kao umjetnici jedan iz drugoga izvlačili ono najbolje, a kao ljudi ono najgore), što će kulminirati njihovim nekolegijalnim preuzimanjem zasluga na klasiku "Remain in Light" gdje su njihova imena upisana u prvome planu, a što će u nastavku karijere sve više smetati ostale članove i proširivati rascjep u kojemu će se naći s frontmenom u kojega će biti usmjerene oči javnosti.
Kruna toga doći će kad profil u New York Timesu za koji su mislili da će biti o bendu bude posvećen samo Byrneu, nakon čega će uslijediti i njegovo pojavljivanje na naslovnici časopisa Time. No, kako Gould poentira, njihovo nezadovoljstvo je temeljeno u tome da oni nisu bili u stanju osvijestiti ono što je cijelom ostatku svijeta dotad već postalo jasno, a to je da David djeluje na "sasvim drugačijoj razini talenta, ambicije i imaginacije" nego ostatak benda.
Uostalom, to će se biti i plastično dokazano kad Tina i Chris sa svojim vlastitim projektom Tom Tom Club ne postignu mnogo više od jednog hita, a da ni ne spominjemo Harrisonov izlet u solo vode. No, Gouldova antipatija prema njihovom radu izvan matičnog benda graniči s nepristojnošću. "Pravo je čudo da nisu načuli ništa o pisanju pjesama radeći deset godina s Davidom Byrneom," piše tako na jednom mjestu.
Ipak, nemoguće je ne primjetiti Gouldov negativan stav prema gotovo svakom glazbeniku o kojemu piše u svojoj knjizi, a često pretjarano kritizira bilo talent ili narav svakog od članova Talking Headsa. Ti slojevi žući nakupljaju se prema kraju knjige u toj mjeri da se moramo upitati zašto ih mora biti toliko. Ljudi poput nas koji pišu u glazbi obično su pogonjeni svojom ljubavlju prema pjesmama i njihovim autorima i pokušavaju opisati genij koji stoji iza njih.
Za razliku od toga, kod Goulda često dobivamo samo neosnovanu kritiku, kako onih izvođača koji su mu glavna tema knjige, tako i drugih veličina, između ostalih i jednog Velvet Undergrounda koji kritizira kao "pretenciozne hipstere" s nagnućem prema "ironiji i amoralnosti", a samo bi netko s ograničenim shvaćanjem njihove glazbe mogao biti u stanju svesti jedan takav bend na ovakvu opasku. (S druge strane Violent Femmes opisuje kao "Velvet Undergrounds acolytes with a sideline in Christianity", što je vjerojatno najbezvezniji opis ovog benda ikad zapisan na papir.)
"Burning Down the House" tako ostaje knjiga koja je izdala svoje gusto tkano obećanje pogleda na vrijeme, mjesto i okolnosti koje su manifestirale Talking Heads kao jedno od glavnih imena novog glazbenog pokreta i njujorške scene koju zaziva u naslovu, e da bi je brzo u potpunosti smetnuo s uma. Sve to Gould ispušta u korist linearnog prezentiranja njihovog puta i konačnog raspleta, točnije primitka u Kuću slavnih rock and rolla, uz codu koja se kratko osvrće na Byrneov projekt "American Utopia".
Autor onome što bi mu trebalo biti najbitnije, a to je dohvaćanje dosega talenta Talking Headsa, dolazi rijetko, a možda mu je najbliže kad opisuje njihov rad s Jonathanom Demmejem na "Stop Making Sense", vjerojatno najboljem koncertnom filmu svih vremena. Vjerujem da ova knjiga na većini svojih ostalih petstotinjak stranica ni upućenim obožavateljima niti znatiželjnicima u konačnici neće imati za ponuditi onoliko koliko je mogla.
(Mariner Books, tvrdi uvez, 512 stranica, 2025.)
April 27, 2025
My thanks to both NetGalley and Mariner Books for an advance copy of this biography and history of a band that merged, art, design, lyrics and diverse musical influences to create a band whose influence is still being name checked today.
I went to school with a kid who I won't name, for I am sure that he must be on the Top Ten Most Wanted lists of at least a few countries, as he was very much like his father. The father in question had everything, before anyone else. Supermax players, betamax VHS, laserdisc players from Japan, components for stereos one only saw in movies. TVs literally as in plural tvs that projected, filled walls and seemed out of Star Trek. Also, he had movies that weren't even written about in magazine yet. Not all of them, but enough. And it was here that I saw a movie that looking back had much more of an influence on me than I thought. This was a concert movie, from a band I think I might have heard of called The Talking Heads. The movie was Stop Making Sense, and it blew my mind. This was probably my first understanding that music and art could make something magical. Most of my music was AM radio, Columbia Record and Tape bought. Now in thinking about it, this could some synapses to fire in my brain, making me a different person at the end. I have met a lot of fans of the band, but most of what we know is rumor, misinformation, or down right lies. They were there, they broke up, and never really got back. After reading this all encompassing book, I understand a lot more. Burning Down the House: Talking Heads and the New York Scene That Transformed Rock by music historian and writer Jonathan Gould is a look at the band, the history and what was happening around them that formed and guide these four people into making magic together, and why it all went away.
The book begins with a look at New York City, a wretched hive and scum and villainy that it was in the 1970's. The city was teetering on the brink of collapse, but offered an enviroment for those who dared to create something new. Maybe it was there own lives, maybe it was art, maybe it was both. New ways of looking at music, were catching on, maybe you couldn't play an instrument, but if one looked cool doing it, one could have a following. Into this stepped a three piece at the time, a band that spent as much time working on how they looked and acted on stage, as how to play it. The band was Martina Michèle Weymouth, better known as Tina, Chris Frantz, and David Byrne, later joined by Jerry Harrison. The book than looks back at the members, discussing their births, influences, and how they came together. Art school was the cauldron that brought them together, something that would be reflected in their work and music that was yet to come. CBGB's was their start, and slowly with a few hiccups, and the addition of the last member the band began to grow. They came at a time when punk was big, but video killed the radio star, something a band that prized their visuals so much were able to overcome and thrive in the MTV medium. However as with a lot of bands, tensions, credits, and attitudes soon overwhelmed the music, and the band broke apart into solo careers for them all.
Gould looks not only at the band, but the scene, with a major character being the city of New York. Gould looks at a lot of other things also, the changes in the industry, video rise of radio, movie deals, health issues and much more. One gets a very good sense of everything that was going on with this band, one that has eluded quite a lot of other writers. This is a warts and all tale, with most of these rock heroes acting human, claiming credit were undeserved, and where there are a few contrary stories, Gould tries to get to the truth. If he can't, well he prints the legends that people have said over the years. Gould is a very good writer and covers the band, the the many other side characters, well. This is a complete book, but moves fast. I learned a lot about various subjects that seemed odd to mention, but really fit the narrative, and made the band members seem real. A rare music book that really gets to the heart of the music and the players, without being a hagiography.
Fans of the band will learn quite a bit, as well as people interested in music during the 70's and 80's. This is a very well done study, about a band that even today not many people know a lot about, though they can remember the songs. I can' wait to read what Jonathan Gould has planned next.
I went to school with a kid who I won't name, for I am sure that he must be on the Top Ten Most Wanted lists of at least a few countries, as he was very much like his father. The father in question had everything, before anyone else. Supermax players, betamax VHS, laserdisc players from Japan, components for stereos one only saw in movies. TVs literally as in plural tvs that projected, filled walls and seemed out of Star Trek. Also, he had movies that weren't even written about in magazine yet. Not all of them, but enough. And it was here that I saw a movie that looking back had much more of an influence on me than I thought. This was a concert movie, from a band I think I might have heard of called The Talking Heads. The movie was Stop Making Sense, and it blew my mind. This was probably my first understanding that music and art could make something magical. Most of my music was AM radio, Columbia Record and Tape bought. Now in thinking about it, this could some synapses to fire in my brain, making me a different person at the end. I have met a lot of fans of the band, but most of what we know is rumor, misinformation, or down right lies. They were there, they broke up, and never really got back. After reading this all encompassing book, I understand a lot more. Burning Down the House: Talking Heads and the New York Scene That Transformed Rock by music historian and writer Jonathan Gould is a look at the band, the history and what was happening around them that formed and guide these four people into making magic together, and why it all went away.
The book begins with a look at New York City, a wretched hive and scum and villainy that it was in the 1970's. The city was teetering on the brink of collapse, but offered an enviroment for those who dared to create something new. Maybe it was there own lives, maybe it was art, maybe it was both. New ways of looking at music, were catching on, maybe you couldn't play an instrument, but if one looked cool doing it, one could have a following. Into this stepped a three piece at the time, a band that spent as much time working on how they looked and acted on stage, as how to play it. The band was Martina Michèle Weymouth, better known as Tina, Chris Frantz, and David Byrne, later joined by Jerry Harrison. The book than looks back at the members, discussing their births, influences, and how they came together. Art school was the cauldron that brought them together, something that would be reflected in their work and music that was yet to come. CBGB's was their start, and slowly with a few hiccups, and the addition of the last member the band began to grow. They came at a time when punk was big, but video killed the radio star, something a band that prized their visuals so much were able to overcome and thrive in the MTV medium. However as with a lot of bands, tensions, credits, and attitudes soon overwhelmed the music, and the band broke apart into solo careers for them all.
Gould looks not only at the band, but the scene, with a major character being the city of New York. Gould looks at a lot of other things also, the changes in the industry, video rise of radio, movie deals, health issues and much more. One gets a very good sense of everything that was going on with this band, one that has eluded quite a lot of other writers. This is a warts and all tale, with most of these rock heroes acting human, claiming credit were undeserved, and where there are a few contrary stories, Gould tries to get to the truth. If he can't, well he prints the legends that people have said over the years. Gould is a very good writer and covers the band, the the many other side characters, well. This is a complete book, but moves fast. I learned a lot about various subjects that seemed odd to mention, but really fit the narrative, and made the band members seem real. A rare music book that really gets to the heart of the music and the players, without being a hagiography.
Fans of the band will learn quite a bit, as well as people interested in music during the 70's and 80's. This is a very well done study, about a band that even today not many people know a lot about, though they can remember the songs. I can' wait to read what Jonathan Gould has planned next.
August 16, 2025
It feels like only yesterday that I read Chris Frantz' Remain in Love: Talking Heads, Tom Tom Club, Tina (2020), and wasn't sure I was ready for more Talking Heads. There certainly isn't a lack of coverage, with David Bowman's This Must Be the Place: The Adventures of Talking Heads in the Twentieth Century (2001), Ian Gittins' Talking Heads: Once in a Lifetime: The Stories Behind Every Song (2004), Jonathan Lethem's Talking Heads' Fear of Music (33 1/3 Book 86) (2012), Alan Bennett's The Complete Talking Heads (2024), and David Starkey's Talking Heads (On Track) (2025), among others. I may not know everything about the Talking Heads, but I know as much as I need to. However, Gould has the greatest bonafides of any of the above writers, having written Can't Buy Me Love: The Beatles, Britain, and America (2007) and Otis Redding: An Unfinished Life (2017), and despite note being granted interviews with any of the members, it was a safe assumption that this would be the definitive book.
It was good timing, sandwiched between the 40th Anniversary reissue of Jonathan Demme's acclaimed concert film Stop Making Sense (1984) and Rhino's deluxe bookback box set of More Songs About Buildings and Food (1978). Gould delivers, filling in the cultural backdrop of the Heads' journey from RISD to the gritty Manhattan lofts of the mid-70s. However, I would note that "the New York Scene That Transformed Rock" part of the book's title is somewhat of a misnomer, because he's fairly dismissive of the importance of Patti Smith, the Ramones, Television, Blondie, Richard Hell & the Voidoids, Johnny Thunders & the Heartbreakers, The Feelies, saying they were the only band to "have a musical career." After Frantz's fawning portrayal of his wife Tina in his book, this book reminded me of the feeling I got that he was a bit afraid of her. Indeed, the monster in this story for the most part isn't Byrne's hogging the credits and spotlight, or Eno's prima-donna behavior. It's Tina Weymouth's constant, endless bullying of Byrne in the press, talking about him as if he was her mentally deficient child, and one who's (not officially diagnosed) Asperger's spectrum behavior represented some kind of moral failure. No one will ever know for sure, but Weymouth could be the reason there was not a ninth studio album. Byrne presented songs to the group, but they wanted to return to the jamming approach they did in the beginning of the decade. His songs ended up on Rei Momo (1989), and Byrne never looked back. I could talk about why they were the greatest American band in 1979-1982 (Television were better in 77-78, R.E.M. in 1983-88), but the book covers it quite well.
It was good timing, sandwiched between the 40th Anniversary reissue of Jonathan Demme's acclaimed concert film Stop Making Sense (1984) and Rhino's deluxe bookback box set of More Songs About Buildings and Food (1978). Gould delivers, filling in the cultural backdrop of the Heads' journey from RISD to the gritty Manhattan lofts of the mid-70s. However, I would note that "the New York Scene That Transformed Rock" part of the book's title is somewhat of a misnomer, because he's fairly dismissive of the importance of Patti Smith, the Ramones, Television, Blondie, Richard Hell & the Voidoids, Johnny Thunders & the Heartbreakers, The Feelies, saying they were the only band to "have a musical career." After Frantz's fawning portrayal of his wife Tina in his book, this book reminded me of the feeling I got that he was a bit afraid of her. Indeed, the monster in this story for the most part isn't Byrne's hogging the credits and spotlight, or Eno's prima-donna behavior. It's Tina Weymouth's constant, endless bullying of Byrne in the press, talking about him as if he was her mentally deficient child, and one who's (not officially diagnosed) Asperger's spectrum behavior represented some kind of moral failure. No one will ever know for sure, but Weymouth could be the reason there was not a ninth studio album. Byrne presented songs to the group, but they wanted to return to the jamming approach they did in the beginning of the decade. His songs ended up on Rei Momo (1989), and Byrne never looked back. I could talk about why they were the greatest American band in 1979-1982 (Television were better in 77-78, R.E.M. in 1983-88), but the book covers it quite well.
September 2, 2025
Well, I like Talking Heads but was never a huge huge fan. I really just know their popular hits, but I learned there was so much more to David Byrne and the Talking Heads and their music.
This book was very long and very detailed! It was book I saw on the shelf for new books at my library, so I gave it a chance. Here are some highlights of what I learned:
This biography begins in 1970's NYC. The city itself was not in good shape, but artists of all kinds flocked there. The original members of Talking heads were all former art students. At the start, the band was not very polished...but they were definitely "artsy". On top of that Byrne's undiagnosed Asperger's Syndrome made his interpretations and song writing even more unique. It also was attributed to the inner turmoil that occurred with the band. There were many "artistic interpretation" disagreements about songs, lyrics, stage presence and adding members to the band.
The author's account is as a social and cultural history of the New York art and music scene as well as the band's story. The book includes meticulous detail and personal anecdotes. The band avoided mainstream rock and created a niche for themselves. At some point the band just ended. Byrne and band members went off to pursue their own musical careers...some more successful than others. (Byrne had a habit of not saying goodbye in any situation) However The Talking Heads left a lasting legacy on popular music. Now I want to rent the movie "Stop Making Sense" that is a movie of their various concerts and hits.
This book was very long and very detailed! It was book I saw on the shelf for new books at my library, so I gave it a chance. Here are some highlights of what I learned:
This biography begins in 1970's NYC. The city itself was not in good shape, but artists of all kinds flocked there. The original members of Talking heads were all former art students. At the start, the band was not very polished...but they were definitely "artsy". On top of that Byrne's undiagnosed Asperger's Syndrome made his interpretations and song writing even more unique. It also was attributed to the inner turmoil that occurred with the band. There were many "artistic interpretation" disagreements about songs, lyrics, stage presence and adding members to the band.
The author's account is as a social and cultural history of the New York art and music scene as well as the band's story. The book includes meticulous detail and personal anecdotes. The band avoided mainstream rock and created a niche for themselves. At some point the band just ended. Byrne and band members went off to pursue their own musical careers...some more successful than others. (Byrne had a habit of not saying goodbye in any situation) However The Talking Heads left a lasting legacy on popular music. Now I want to rent the movie "Stop Making Sense" that is a movie of their various concerts and hits.
August 31, 2025
An excellent comprehensive history of the Talking Heads and even better the music/art/social scene in NYC at the time. As someone who preferred the Ramones over the Talking Heads, the real value of the book was the description of the New York scene and people that interacted with the Talking Heads during that time from CBGB to Bowie to the Violent Femmes to Marley a clear description of the late 70s and early 80s cultural scene emerges.
For others the long song by song description album by album might prove interesting but I quickly learned to skim through those pages. In addition, when discussing band personal dynamics his constant criticism of Tina Weymouth became irritating and repetitive. The author allows Bryne's obvious genius and possible autism to insulate him from criticism and Tina emerges as the irrational nag. Perhaps Weymouth was harsh (although I don't think we are given her side of the story entirely) but by the end of the book, the author creates an almost Yoko Ono type character who ruins the band. In reality, Bryne had personal and artistic interests outside the band and moved on.
Despite the above irritant, the book is still an excellent social history.
For others the long song by song description album by album might prove interesting but I quickly learned to skim through those pages. In addition, when discussing band personal dynamics his constant criticism of Tina Weymouth became irritating and repetitive. The author allows Bryne's obvious genius and possible autism to insulate him from criticism and Tina emerges as the irrational nag. Perhaps Weymouth was harsh (although I don't think we are given her side of the story entirely) but by the end of the book, the author creates an almost Yoko Ono type character who ruins the band. In reality, Bryne had personal and artistic interests outside the band and moved on.
Despite the above irritant, the book is still an excellent social history.
June 27, 2025
I did not grow up listening to Talking Heads, but after reading this book, I understand why they are important. This is not only a book about a band — it is about a time, a place, and the strange, creative world of 1970s New York. Jonathan Gould writes with great detail about how art, music, and culture mixed together. The band came from art school, not from radio hits, and they changed the idea of what rock music could be.
The book is full of names, places, and music history, but it never feels boring. You learn about David Byrne, the East Village, and how a group of students helped build something very new. I liked how the author explained both the success and the problems inside the band. The writing is smart but not too heavy. It shows how something weird and brave can become powerful. If you love music history, or if you want to know how rock became more than just guitars, this book is very good. It helped me hear their songs in a new way.
The book is full of names, places, and music history, but it never feels boring. You learn about David Byrne, the East Village, and how a group of students helped build something very new. I liked how the author explained both the success and the problems inside the band. The writing is smart but not too heavy. It shows how something weird and brave can become powerful. If you love music history, or if you want to know how rock became more than just guitars, this book is very good. It helped me hear their songs in a new way.
August 26, 2025
3.5 stars
Well researched, well written, and thoroughly explained, this biography of Talking Heads gives the reader the roots of each member as well as a clear context of the times and situations when they were making music together. No big surprises here. David Byrne has Aspergers? Right, that tracks. The band members were privileged college art school kids? Yep.
I loved a lot of Talking Heads music, while at the same time feeling like they (especially Byrne) took themselves waaaaay too seriously. Byrne's pursuit of anything to appear quirky and artistic always seemed very self-conscious to me. Author Gould's contention that he was the talent of the band bugged me a little. I'm not saying that the other band members were more talented than him. But the events described in the book pain a picture of someone who was more driven than his bandmates, and more curious to try new things, and above all, quick to take credit for collaborative work that was not his alone.
Well researched, well written, and thoroughly explained, this biography of Talking Heads gives the reader the roots of each member as well as a clear context of the times and situations when they were making music together. No big surprises here. David Byrne has Aspergers? Right, that tracks. The band members were privileged college art school kids? Yep.
I loved a lot of Talking Heads music, while at the same time feeling like they (especially Byrne) took themselves waaaaay too seriously. Byrne's pursuit of anything to appear quirky and artistic always seemed very self-conscious to me. Author Gould's contention that he was the talent of the band bugged me a little. I'm not saying that the other band members were more talented than him. But the events described in the book pain a picture of someone who was more driven than his bandmates, and more curious to try new things, and above all, quick to take credit for collaborative work that was not his alone.
July 12, 2025
Burning Down the House is a dynamic and essential deep dive into the art-rock explosion that redefined the New York music scene and, by extension, the sound of modern rock. Jonathan Gould delivers a masterclass in cultural history, charting the rise of Talking Heads while painting a vivid portrait of a city on the edge of transformation.
What makes this book so compelling isn’t just the fascinating story of David Byrne and company, but how Gould contextualizes their innovation within a broader movement, CBGB, punk, avant-garde, no wave, and the restless creative pulse of 1970s and '80s New York.
Meticulously researched and told with style, Burning Down the House hits the sweet spot between music journalism and social history. If you’re a fan of the Talking Heads or simply fascinated by the alchemy that happens when music meets cultural revolution, this book is a must-read.
What makes this book so compelling isn’t just the fascinating story of David Byrne and company, but how Gould contextualizes their innovation within a broader movement, CBGB, punk, avant-garde, no wave, and the restless creative pulse of 1970s and '80s New York.
Meticulously researched and told with style, Burning Down the House hits the sweet spot between music journalism and social history. If you’re a fan of the Talking Heads or simply fascinated by the alchemy that happens when music meets cultural revolution, this book is a must-read.
July 18, 2025
Growing up in the 1980s, I heard this band's music on the radio, but I did not investigate their music until I was in college and took an Introduction to Popular Music course. The professor was a fan of the Talking Heads. It was the early 2000s, and I was able to listen to their music with Napster ... but I did order used CDs through Amazon :) . I still love the band.
Prior to reading this book, I did not know that David Byrne has Asperger's. Gould uses the diagnosis to explain Byrne's approach to songwriting and his rocky relationship with his bandmates. Upon learning more about autism and Asperger's, Tina Weymouth, as she is written and quoted in this book, seems mean and unempathetic.
Prior to reading this book, I did not know that David Byrne has Asperger's. Gould uses the diagnosis to explain Byrne's approach to songwriting and his rocky relationship with his bandmates. Upon learning more about autism and Asperger's, Tina Weymouth, as she is written and quoted in this book, seems mean and unempathetic.
July 10, 2025
This book doesn’t just recount the rise of one of the coolest bands of the 1980s���it dives headfirst into the electrifying music scene of New York City during that era. From gritty nights at CBGB to the edgy vibes of the Mudd Club, the narrative paints a vivid portrait of the cultural explosion that defined the city’s underground sound. It's more than a biography—it’s a backstage pass to the raw energy, artistic rebellion, and unforgettable characters that shaped an entire musical movement. I found it absolutely fascinating and couldn’t put it down.
July 17, 2025
I've been a Talking Heads fan since almost the beginning of the band. Learning that no members of the band had given interviews for this book, I was a little skeptical, but I think Gould did an excellent job synthesizing available information and talking to many people associated with the band members. I learned a lot I didn't know about the band (and maybe a couple things I wish I still didn't know). I listsen to Stop Making Sense a lot, but reading this has led me to dig out all my other Heads and Tom Tom Club and David Byrne albums and put them in heavy rotation.
August 24, 2025
A thorough examination of Talking Heads. Gould goes off on some tangents about the people and movements going on around the Heads but doesn't let that get out of hand. I really enjoyed this and almost gave it four stars but ultimately could not get past Gould's bias towards David Byrne. Yes, Byrne is a genius and the driving force of the band, but at times Gould makes the others out to be lucky mediocrities. Gould's treatment of Tina Weymouth really bothered me at the end. Gould uses her quotes to portray her as bully for speaking out about Byrne's tendency to claim credit for the band's success. Byrne meanwhile gets a free pass on all his bad behavior and self-absorption because he is self-diagnosed as autistic. The book makes it clear Byrne could be difficult to work with. Weymouth should be allowed to speak about her experiences without being shown as a harridan. The disagreements were actually a very small part of the book, so my annoyance might be a bit disproportionate.
September 4, 2025
This is a very informative read. However I was disappointed that no member of Talking Heads granted an author’s interview. In some part that must bias the book. Fortunately there is copious material, quotes,
books, other interviews and the like that seem to make this book factual. Finally knowing how people on the spectrum function makes perfect sense regarding the band. So many of the world’s greatest accomplishments stem from those with Asperger’s syndrome.
books, other interviews and the like that seem to make this book factual. Finally knowing how people on the spectrum function makes perfect sense regarding the band. So many of the world’s greatest accomplishments stem from those with Asperger’s syndrome.
This entire review has been hidden because of spoilers.
August 1, 2025
Torn how to rate given I’m only a casual fan. Giving it 4 due to the quantity of content. You need to be a Talking Heads Fan to fully enjoy the book. Enjoyed the detail in the early chapters about the music scene in NYC in late 70s. LOTS of detail on the band, band members and songs created. Wound up skimming towards the end.
August 27, 2025
Have always been a Talking Heads fan and knew some their history but this book helped me appreciate the music more. Good to see where they started and how they made the music. I saw the Tom Tom Club years ago in a small venue in Los Angeles. We were standing right next to the stage. One of my best concert memories. Fun to watch. Wish I could have seen the whole band. Good book.
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