π‘‡π‘Žπ‘™π‘˜π‘–π‘›π‘” π»π‘’π‘Žπ‘‘π‘ : π‘‡β„Žπ‘’ π‘€π‘Žπ‘‘ π‘ƒπ‘Ÿπ‘œπ‘“π‘’π‘ π‘ π‘œπ‘Ÿ-π‘–π‘ π‘š π‘œπ‘“ π·π‘Žπ‘£π‘–π‘‘ π΅π‘¦π‘Ÿπ‘›π‘’.

What follows is a smattering of incredible live performances by this ensemble, mainly the 1980 iteration, which included guitar maestro Adrian Belew. David Byrne, it could be argued, virtually created “New Wave” {or *something*} simply with the inexplicable, wondrous peregrinations of his vocals. Plus, the unusual “dancing” style.

Incredible version!

Granted, Wild Wild Life is nowhere near the preternaturally edgy/”weird” ventures into undreamt-of realms, which made this band legendary. But, it *is*, well, fun. And it shows Byrne’s mindboggling theatricality and capacity for adopting a bewildering array of disguises, and such.

A few comments on our selections {NOT all of them!!}: Cities {1983, 1982, *and* 1980 versions} *might* be David Byrne’s high-water mark as an “umm, what???” (followed by audible hysteria, in my case…) vocalist. The doublet “we got uhhhh…” is not possible. Pulled Up and Mind, at the very least, are looking uneasily over their shoulders. The “He’s come undone” staggerings/lurchings in Psycho Killer {1983} are also enough to keep one alive for several epochs; the 1979 Mudd Club version is electrifying. Both versions of Drugs have an eerie, haunting element all of their own. Crosseyed is simply a collective singe-fest.

Mr. Byrne has always been that rare bird: a creative genius and innovator, with a deeply innate style, who is also willing—eager— to take in all manner of input {see: Eno} so as to evolve. Definitely not a play it safe type, David Byrne took risks as simply a matter of course. I, for one, admire this greatly.

Published by ml22

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