Of course, he also covers the ground-breaking band he and Weymouth created, Tom Tom Club.Īn early section of the book details Talking Heads’ first days at CBGB in 1975, when they were upstarts, trying to break into a world dominated by Patti Smith, the Ramones and Television. Beyond Talking Heads, he tells hilarious, if often unflattering, tales about Patti Smith, Lou Reed, Johnny Ramone, Happy Mondays (who Frantz and Weymouth, at one point, unhappily produced), and frequent Talking Heads producer Brian Eno. In his book, Frantz also writes about his 42-year marriage to Weymouth with a warmth and awe that inspired its title. As evidence, his book proudly details the artistic highlights of a band that rates as one of music’s most creative units – a group so visionary that, as he writes, “We were post-punk before punk even happened.” At the same time, Frantz appreciates the once-in-a-lifetime opportunity the alchemy of Talking Heads provided for him and the other members. Towards that end, Frantz contends, Byrne often seized sole writing credit on songs the whole band had created, denigrated the other members’ musicianship – particularly that of bassist Tina Weymouth (who is married to Frantz) – and put enough space between him and the other members socially to suggest contempt for them as people.
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