I don't know who I hate more, the last buyer of this who paid $100 for an unsealed, used copy or the seller who described the media as "mint" even though it's not sealed or new and who also said it's "never seen a turntable before" which is a meaningless and unprovable claim.
I take that back, I hate the seller more and just feel bad for the buyer.
Pro-tip: it better have seen a turntable when the seller playtested it before listing it as mint.
Another pro-tip: If anybody makes a point to mention its "never seen a turntable before" it means they are dumb or don't know anything about record collecting or are just full of shit.
The same seller also described the sleeve as "NMINTY" (gross) without ever saying if it's in the shrink or not and wrote the whole thing in ALL CAPS like he's MF DOOM. Scum of earth flippers, PEOPLE! Suprise they didn't say "COPY IN HAND" or whatever nonsense gross flippers with no musical taste.
If anyone wants a copy without being ripped off, I'm listing a copy a flawless like new NEAR MINT (if it's open or you didn't buy stock straight from the distributor, label or artist, it's not "Mint" homie, it's near mint) copy for $50 right now.
Talking Heads rode the punk wave, though they were anything but punk, where their songs praised civil servants, along with their Ivy League young Republicans image made them brisk, challenging, accessible, crisp, new and refreshing, where even from the beginning, Talking Heads were moving within the concept of morphing rock and art into one seamless package, and they did that flawlessly.
Byrne’s stream of conscious lyrics and delivery are filled with nothing short of live-wire kinetic energy here on 77, though in the same breath, one could certainly say that Byrne’s lyrics were entirely un-lyrical, pulsing, nearly metaphysical in his articulation, while he and the band set about exploring the disorientation of logic, love and ambition, all infused with a bit of self-effacing silliness.
77 was a very good album, one that was very much in and of its time, though that time is a thing of the past, where the record just doesn’t hold up with the excitement and luster it once did. Talking Heads arrived at a juncture when it was visionary to lose control, where today that aspect of life is certainly missed, with the waters of unabated freedom being an attribute most listeners do not feel obliged to allow themselves to wade through with any comfort.
From a musical standpoint, 77 turns out to be the band's most concise and linear effort, defining the nearly sensual herky-jerky guitar interplay of Jerry Harrison and David Byrne, the blocky and squared off rhythms Tina Weymouth delivers, along with front and center drumming by Chris Frantz, all who allow Byrne to step forward as a polarizing frontman, one who comes across with the endearing voice of a hiccuping robot, doling out the words in the character of paranoid, wide-eyed impressionist. And you know, back then it was a delight to believe that the character of David Byrnes was real, where Talking Heads stood in stark juxtaposition to the overly produced recordings from the likes of Fleetwood Mac, Pink Floyd, Steely Dan and Elton John.
77 was a delight to my ears in 1977, where I fear sounding like a bit of a traitor saying that the record doesn’t hold the magic for me that it once did. Regardless, it’s an essential record, one that I keep around, even if I only manage to spin a single side at a time. 77 is a journey, a memory and a musical attitude I never want to rid myself of … but hey, I feel the same way about Sgt. Pepper’s Lonely Hearts Club Band.
By BOB BABBITT on Thursday, February 14, 2002 - 05:04 am: Another situation that happened to me was the first talking heads album............I overdubbed the bass parts..........Played with a pick...The sound was exactly like the parts on the record....They needed the same notes but with a better feel and better execution.....Yeah no credits....The producers did not even tell the group..........