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(Credits: Far Out \/ Alamy)<\/p>\n
Mon 20 October 2025 21:00, UK <\/p>\n
It might not seem like it at first, but the accompanying rhythms behind Talking Heads<\/a>\u2019 mass circus first started with the fundamental teachings of rock and soul.<\/p>\n At least, that\u2019s when Chris Frantz first fell in love with music. Like most new wave pioneers, Frantz learned the ropes by absorbing a bit of everything, from the basic melodies of The Beatles to the magnetic grooves of Otis Redding. The latter, in particular, was part of the whole where Frantz developed his own style, once saying that it was the \u201cfunky Memphis sound really got me hooked.\u201d<\/p>\n This is precisely what Frantz brought to Talking Heads. As Tina Weymouth once recalled, the band worked as well as it did because each member brought their own unique thing to the table. \u201cThere were myself, David and Jerry, who had been exposed to a lot of European classical music,\u201d she once mused to Louder, continuing, \u201cChris came from the steel town of Pittsburgh and understood that raw black American sound [\u2026] When you combine the African-American rhythms with that European melody, you get Talking Heads.\u201d<\/p>\n Even though it\u2019s easy to detect these influences when you stick on any given Talking Heads record, what Frantz also became endeared to about this particular style of music was the attitude. It\u2019s the same reason that he eventually benched The Beatles for The Rolling Stones, because, as he put it, the latter were \u201cnaughty and nasty\u201d. They were unexpected, risk-takers, and like nothing you thought was possible. They were \u201ccompletely based on blues, and they had a badass, hip-shakin\u2019 vibe,\u201d said Frantz.<\/p>\n These are also the same reasons he became endeared to David Bowie; he had this \u201cpersona\u201d that gave you no choice but to pay attention. He was a true \u201cgame-changer\u201d, according to Frantz, purely because he actually had the guts to be an innovator and do something nobody else had done before. The same goes for Lou Reed, who, unlike some of the others whom he eventually grew to cherish, hooked into Frantz \u201cfrom the first listen\u201d.<\/p>\n Franz first fell headfirst into Reed the moment he heard \u2018Walk on the Wild Side\u2019. This eventually became his gateway into Transformer, which, again, initially drew him in because of how out of pocket it felt against the broader repertoire of musical excellence he was exposed to at the time. He explained to Goldmine<\/a>, \u201cThe risqu\u00e9 theme is complemented by a beautifully performed sliding bass, drums with brushes and ethereal background vocals. I\u2019ve loved it from the first listen, and the rest of the album is marvellous, too.\u201d<\/p>\n