"BORN UNDER PUNCHES (The Heat Goes On)” - TALKING HEADS -
Alan Bershaw says
"Here’s “Born Under Punches (The Heat Goes On),” one of the greatest and most danceable government paranoia songs, shot live on stage at The Capitol Theatre in Passaic, NJ during Talking Heads ‘Remain In Light’ tour 45 years ago.
What really knocks me out about this song, and this performance of it in particular, is the extremely original bass playing of Tina Weymouth. Until this footage surfaced, I mistakenly thought that the propulsive bassline that is prominent right from the start of this song was the other bass player in this configuration of the group, Busta Jones (who does get a cool solo later in the song), but it is unquestionably Tina’s bass playing that's propelling this sizzling performance.
I’ve been fortunate to work with several verified master and first generation tape transfers of this particular show over the years. The best sources are the transfer in the Reelin’ In The Years Archive (the source of “Crosseyed And Painless” on the band’s Chronology DVD release) and the transfer from the Metropolitan Archive (the source of the Wolfgang’s Vault version of this show). Both of those master transfers are very well done, but despite a few flaws, I’ve found that this first generation Beta tape transfer sourced from another private archive easily rivals them and may have held up a little better in terms of video contrast and audio.
Give it a listen and watch what Tina is doing here, as it really is an astounding example of her bass playing, not to mention Talking Heads at this pivotal moment of transition into a much bigger band."
Personnel is:
David Byrne - guitar, lead vocals
Jerry Harrison - guitar
Tina Weymouth - bass
Chris Frantz -drums
Adrian Belew - lead guitar, vocals
Busta Jones - bass
Bernie Worrell - keyboards
Dolette McDonald - vocals, hand percussion
Alan is right here and I too assumed maybe that it was Busta playing the more complex bass pattern (sexism? probably!) but here Tina takes the instrument as a solo instrument rather than a mere part of the rhythm section as so many bass players - this goes to why Busta was employed maybe in the grounding of the BEAT is required if Tina is to explore her contribution over the rhythms as in here! Awesome piece of work and as Alan notes a groundbreaking moment for the bands development . . . . . .