Dyah has an affinity for ensemble TV shows, especially ones that bring heart and humor. During her spare time, she can be seen watching re-runs of Friends, Brooklyn Nine-Nine, and Modern Family. But if she's being really honest, her number one show is the Canadian animated series 6teen. The beauty of the film, however, is that by the end, this divide has, indeed, been eviscerated. You watch on, immersed in the magic of live music. It barely matters that you weren’t there because the filmmaking itself makes up for any shortfall in ‘live’ vitality. Soon, as you sip your red wine on a Friday night-in, you feel as though you have the best seat in the house anyhow. There is a rare swell of euphoria as the gathering grooves embalm you in rhapsody. We wanted to show people how a show is put together in all its parts,"Byrne explains. "In a way, it was about being completely transparent. We’re going to show you what it takes, and then we’re going to do it.

You’re going to see all the parts being assembled; you’re going to hear for yourself what each musician adds to the sound. 'Oh, that’s what that person does.' And then everything gets put into effect together."

Few gigs have captured the imagination of music lovers as much as Stop Making Sense. Almost forty years on, and it’s still considered the greatest musical performance ever captured, witnessed in its enduring legacy, Jonathan Demme’s subsequent fame found in Philadelphia and The Silence of the Lambs, a renewed interest following its incoming theatrical run, and its persisting parodies. One such spoof we collectively love at Norman is the ‘Final Transmission’ episode of Documentary Now!, where American comic Fred Armisen leads the final concert from new wave group Test Pattern. Featuring original songs written in the style of the Talking Heads, a segue parodying Tom Waits’ Big Time, and interview clips made up of spiels from inflated egos, it’s made with such sharp attention to detail that it’s clear it comes from a place of adoration, not of lampooning. The initial reaction to this re-release of Jonathan Demme’s Talking Heads concert film from 1984 is obviously to wonder when Andrew Scott is going to face up to his destiny and do a David Byrne biopic. But otherwise it’s just excitement at the sheer energy and presentness of the band’s unique music. I’ve been singing along to it with glassy-eyed fanaticism these 40 years, while still having zero idea as to what most of it means. It never even started making sense in those ordinary terms, but its poetic power is as potent as ever. Design [Booklet Designed By - With], Liner Notes [Booklet Written By - With] – Jeff Ayeroff*, Michael Hodgson (2) This energy only arises when there is steadfast confidence in a visionary idea. At no point do you feel like the band or Demme hummed and hawed over whether the opening of Byrne alone in a solo capacity was too low-key, whether the enlarged suit might be distracting, or even whether the steady introduction of new elements might become fraught and jarring. It feels simply like pure, unbridled creative flow, executed with sincerity and passion. That is an infectious force to behold—so infectious, in fact, that all the subtle messages behind the orchestration, the Japanese theatre inspirations, and commentary on culture are subsumed within a simple blunderbuss of fun.

Previously only available as bonus feature outtakes on certain video releases, ‘Cities’ and ‘Big Business/I Zimbra’ feature on the deluxe reissue. The polyrhythmic funk of Byrne solo number ‘Big Business’ segues seamlessly into the ferocious bongo-led drive of ‘I Zimbra’, while the bouncy, queasy bass of ‘Cities’ is brought to the forefront, making for two further enticing treats for an already bountiful record set. Even to this day, the movie is widely regarded as the finest concert film ever made. Itsintimate exploration of music production and the internecine dynamics between band members remains an inspiration for filmmakers the world over, from Spike Lee's very own Talking Heads concert project American Utopia to Edgar Wright's The Sparks Brothers.

A record as essential as the first five Talking Heads LPs, Stop Making Sense remains the perfect live album. Same as it ever was. And I just love the fans,” she continued. “I actually believed that we were doing something good. I thought, ‘This is really spiritual; we’re really communicating some love here.’ So that was my feeling about it at the time. I couldn’t believe it when David said to us, ‘Oh, well, we’re not going to tour anymore because the movie’s gonna tour for us.’ I just scratched my head. Like, ‘What? That’s not the same!'”