| | Tom Tom Club CD Tom Tom Club Discography of CDs
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Following the release of the Talking Heads' fourth album, REMAIN IN LIGHT, the band's husband-and-wife rhythm section, drummer Chris Frantz and bassist Tina Weymouth, opted to record tracks in the Caribbean on the invitation of Islands Records founder Chris Blackwell, thus the Tom Tom Club was born. Joined by Talking Heads touring guitarist Adrian Belew, guitarist Monte Brown, percussionist Steven Stanley, and Weymouth's sisters, Laura and Lani, on background vocals, Frantz and Weymouth crafted a highly rhythmic, groove-laden album that incorporated world music (most obviously on the buoyant, African-tinged "L'Elephant") and hip-hop (the playful "Wordy Rappinghood," a kindred spirit to Blondie's "Rapture"). Of course, the 1981 album's most shining moment proved to be the hit single, "Genius of Love," a vibrant dance-floor classic that has been sampled ad infinitum. Issued the same year as David Byrne and Brian Eno's MY LIFE IN THE BUSH OF GHOSTS, TOM TOM CLUB was the fun and free-spirited counterpart to that experimental and cerebral outing, revealing that the Taking Heads could making fascinating music even when fragmented.
Live Recording
Tom Tom Club: Tina Weymouth, Chris Frantz, Steven Stanley, Benjamin Arbrister, Adrian Belew, Loric Weymouth, Laura Weymouth, Monte Brown, Tyrone Dowrie, James Rizzi, Kendall Stubbs, Lani Weymouth.
Producers: Steven Stanley, Tina Weymouth, Chris Frantz.
Record Collector (magazine) (p.96) - 4 stars out of 5 -- "Tom Tom Club cooked up funky grooves and quirky vocals to make their eponymous debut album....The sense of fun and the innate funk is contagious as ever." Tom Tom Club Music Review Purchase Tom Tom Club CD To buy, Click on price to add to cart | Tom Tom Club Good The Bad And The Funky CD (2000)
Tom Tom Club
 $10.15   
This aptly titled release from '80s art rockers and Talking Heads side project Tom Tom Club is indeed good, bad, and funky. Tina Weymouth and Chris Frantz have explored a stunning amount of musical styles within the confines of this album, with every song sounding like it was produced by a different group. The use of a variety of vocalists, including Weymouth, who at times sounds like a 16-year-old Japanese girl instead of her more mature self, as well as Mystic Bowie and Charles Pettigrew only seems to heighten the variety of sounds offered. The lyrics are simple, yet clever, and laid over a variety of sampled tracks, scratching, and other turntablism and live instrumentation. The resulting sound ranges from dub to dance-pop to spacy funk. The variety does allow for some unevenness, however, though duds like the repetitive and spare "Time to Bounce" are more than balanced by gems like "Happiness Can't Buy Money" and the instrumental cleverness of "Lesbians by the Lake," among others. ~ Stacia Proefrock
Recorded at Clubhouse Music Studios, Cock Island, Connecticut.
Personnel: ...
| | Time CD (1981)
Tom Tom Club
$6.29 
Essentially a side project for Prince in the wake of his tour with Rick James in support of Dirty Mind (1980), the Time made their self-titled album debut in 1981, a few months before the release of Controversy. The band's lineup is listed as Morris Day (vocals), Jesse Johnson (guitar), Terry Lewis (bass), Jimmy Jam (keyboards), Monte Moir (keyboards), and Jellybean Johnson (drums) -- all from the same Minneapolis music scene as Prince -- though reportedly all the music heard on The Time was performed by Prince with the exception of the vocals and a couple synthesizer solos. Moreover, Prince wrote all but one of the songs. None of this information is evident in the liner notes, however (at least not on the initial edition), as the only sign of Prince's involvement is a production credit for Jamie Starr, one of his pseudonyms. The origin of the Time -- and subsequently Vanity 6 -- came about because Prince was a prolific artist and his record label, Warner Brothers, recognizing this, gave him its contractual blessing to create side projects. This worked out well for Prince since he was able to release music in addition to his proper solo recordings, and he would have himself an opening band for his tours. The Time may have not written or performed the music on their self-titled debut, but they were fully capable of performing it live on-stage as Prince's opening act. Far from a bunch of stage actors, the Time was actually a talented bunch: Morris Day would prove himself a charismatic frontman and ...
| | Rapper's Delight: The Best Of Sugarhill Gang CD (1996)
Tom Tom Club
$9.05 
Contrary to popular belief, the Sugarhill Gang's "Rapper's Delight" was not the first rap song. For much of the world, however, it represented the first exposure to the burgeoning style, consisting of stripped-down backbeats, sampled music clips, and half-spoken/half-sung rhymed vocals from performers known as MCs. And a fine introduction it was--over the eminently danceable bass line from Chic's "Good Times," rappers Wonder Mike, Master Gee, and Big Bank Hank laid down a rotating round of infectious, witty, quick-tongued raps. The hip-hop nation was born.
Rhino's best-of compilation brings together 10 additional tracks by the Sugarhill Gang, including the hits "8th Wonder" and "Apache." Like the breakthrough single, these tunes borrowed instrumental lines from popular songs and featured ebullient, call-and-response, party-minded raps, introducing a host of catch phrases and motifs that would become common currency for the next several decades. Though the Sugarhill Gang was never as innovative as contemporaries Grandmaster Flash or Afrika Bambaataa, they nevertheless ...
| | Shirley Horn I Remember Miles CD (1998)
Tom Tom Club
$12.39
I REMEMBER MILES won the 1999 Grammy Award for Best Jazz Vocal Performance.
This stunning album is Shirley Horn's loving tribute to her friend and colleague, the legendary late Miles Davis. Davis was so taken by Horn's first album EMBERS AND ASHES that he forced The Village Vanguard to let her virtually-unknown trio open for him during his 1961 run there. Their friendship and admiration for each other's music lasted through the years, and Shirley Horn's 1991 recording YOU WON'T FORGET ME, was one of the last recordings Miles Davis made.
Horn selected mostly ballads from Davis' Columbia Records catalogue for her tribute because, as she explains in the liner notes, Davis liked her to sing ballads, and ballads are Horn's specialty. She can slow down time in a unique and spellbinding way. Her sultry and smoky vocals are intimate and conversational, relying on odd metered timing and silence, rather than volume, to make an emotional point.
This album's knock out punch is the epic (over 10 minutes long) "My Man's Gone Now" performed in an uncharacteristically (for Horn) abstract style with a double rhythm section and Roy Hargrove wailing and soaring on the trumpet. This may well be one of the greatest tracks Horn ever ...
| | Name Of This Band Is Talking Heads CDs (1982) Bonus Tracks
Tom Tom Club
$17.09
This live album was originally released as a double LP in 1982, when the Talking Heads were still extremely active. Twenty-two years later, the bonus-laden, two-CD reissue serves as a fascinating in-concert document of the phases the band went through during its first five years. The late-'70s tracks on the first disc show the early version of the band in all its geeky glory, mixing spastic New Wave quirkiness, funk rhythms, and art-school lyrics. It's intriguing to hear the difference between some of the songs' inception and their eventual recorded versions, such as a relatively straightforward "Electricity (Drugs)," which would turn ominous and atmospheric on FEAR OF MUSIC.
The second disc captures the expanded, early-'80s version of the band, with extra musicians and backing vocalists in tow, tackling the fugue-like art-funk masterpieces of the aforementioned album and REMAIN IN LIGHT. It's all the more impressive to hear the interlocking of the guitars, keyboards, and percussion achieved without the benefit of studio overdubbing, and David Byrne's near-manic intensity is even more focused and affecting in the live setting. Even vinyl freaks/Heads maniacs who hung on to the original LP for two decades will need to get this, if only for the wealth of indispensable bonus tracks.
Up until 2004, Stop Making Sense was the only easily available ...
| | Lifestyles Of The Slow & Low Vol. 2 CD (1997)
Tom Tom Club
$10.69
Gene Chander,Barbara Mason++++
| | John Swana And Friends CD (1991)
Tom Tom Club
$14.65
| | Anita Baker Rapture CD (1986)
Tom Tom Club
$9.89
| | Soul Train 1972 CDs (2000)
Tom Tom Club
$9.59
| | Agnaldo Timoteo Serie Retratos CD (2004) Import
Tom Tom Club
$8.59
| | Alias & Tarsier Brookland / Oaklyn CD (2006)
Tom Tom Club
$13.09
It's really hardly a surprise that Alias has delved completely into indie electronica/trip-hop. 2005's Lillian, made with his brother Ehren, was practically one ambient soundscape, and Muted, the album that spawned the collaboration between himself and singer Tarsier, was all but void of its Anticon alternative hip-hop connotations. But perhaps that's what Alias is trying to do, anyway: dispel connotations. Yes, he's a hip-hop producer, and yes he's a rapper, but he's also interested in lush, layered atmospheric instrumentals, both organic and synthesized, that blend and contrast with one another like the colors on painter's palette. And what he and Tarsier do on Brookland/Oaklyn is exactly that. There aren't so much songs on the record as explorations of movement, thought, and mood. Keyboards come together with distorted guitars, muddy trip-hop beats meet violins. Tarsier's voice, which often takes a kind of Björk-like haunt, fits smoothly with the tracks that Alias has laid down. It's often clear and smooth, alluding to loneliness and regret, but Alias as producer doesn't hesitate to distort and echo the vocals, putting the singer in the bottom of a well, at the end of a long telephone line, or deep under the earth in a large cave. The idea of space may be the most interesting part of Brookland/Oaklyn, because Alias & Tarsier never had any physical contact with one another during the entire recording process, relying instead on other means to send their work across the country, and this distance is reflected in the album itself. Yes, most electronic-based music does have a sort of sense of separation to it, but this is manifested even more strongly between Alias & Tarsier, as if with their respective voices they're trying to bridge the expanse between them, even ...
| | John Lees Barclay James Harvest Legacy - Live At The Shepherds Bush Empire 2006 CD (2008)
Tom Tom Club
$18.09
| | Seu Jorge America Brasil O Disco CD (2008) (Import)
Tom Tom Club
$28.89
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