Talking Heads' "other" live album, with its appropriately deadpan title "The Name of this Band is Talking Heads," has lived unfairly in the shadow of the highly acclaimed "Stop Making Sense." Released only two years earlier, it clearly preserves the band's almost shocking transformation from a stripped down "pop punk" quartet into a full ensemble utilizing aspects of African and South American styles. Originally released as a double album set sequined with band photos ranging from their humble beginnings to their dense "Remain in Light" lineup, it remained available only on vinyl and cassette (remember those?) for years. Finally, someone had the sense to release the set on CD in 2004 with a generously bulging litany of extra tracks. The LPs original 17 songs inflated, like a Big Bang of bonus, into an incomprehensible 33 tracks. Following the original release's format, the performances appear more or less in chronological order and date from 1977 to 1981.The band's true early quirkiness, which likely explains their niche appeal, rings throughout the performances. David Byrne's sometimes highly exaggerated vocals, ranging from humorous to terrifying, probably provide the largest contrast between this collection and the relatively more reserved "Stop Making Sense." He elongates, almost to absurdity, the terminal "me" on "Don't Worry About the Government," provoking audible laughter from the audience. His screaming voice becomes almost muppet-like towards the end of "Mind." The vocals become more controlled and less wild as the album and the songs' harmonic complexities progress, but only in comparison to the early performances. Adrian Belew's inimitable and ethereal guitar also distinguishes the early and later sets. Not to mention that the sheer size and vastness of the cheering audiences seems to grow with time.Some of the unquestionable highlights include songs that never appeared on the group's standard releases. "A Clean Break (Let's Work)" and the lambda statement infused "Love--> Building On Fire," which served as their first commercial release, prove that Talking Heads can also produce incredible outtakes. "Electricty(Drugs)" also shows how songs could evolve over time. Though perfectly recognizable as an early incarnation of the surreal and ineffable "Drugs," this primordial version nonetheless provides enough of a contrast to make it interesting in itself. The version of "Born Under Punches(The Heat Goes On)" sounds nearly unrecognizable until Byrne half sings half speaks the classic line "take a look at these hands." And of course the album features two somewhat distinct versions of their early signature song "Psycho Killer." The probably Brian Eno-inspired effects on the later version sound more than appropriately psychotic. Also, the 1977 version features the later abandoned "I passed out hours ago" verse. This collection, like some live albums, does not simply rehash the songs as recorded but often pushes them in new directions and energizes them in ways that don't seem possible. Talking Heads, in all of their various permutations, definitely put on a good show. Their undeniable creative and musical power permeates every performance of this amazing anthology.Though, in retrospect, this album also sadly closes a chapter. Following these tours the band stopped working with Brian Eno and went in a completely new direction that made this innovative and arguably "intellectual" band into an unexpected pop sensation. The band also began to unravel personally as the artistic differences between Byrne and the other members began to slowly saturate the music press. Innovations that culminated with "Remain In Light" were put on hold until the band's final release, "Naked," which explored additional aspects of world music. In short, the band was never the same, for better or worse, though their success skyrocketed exponentially. "The Name of this Band is Talking Heads" captures this bygone and forever lost era as the band progressed and pushed themselves in unimaginable and unprecedented ways. They would tour only once more before, Beatles-style, becoming an exclusive studio band. The album may also evoke reflection on a time when live performance focused more on music rather than image, not to mention that the live setting could serve as an innovative vehicle. Though Talking Heads definitely had a carefully tailored image, the music always seemed to dominate, as it clearly does on this collection. In any case, this incredible reissue of this once almost lost recording allows anyone to resurrect Talking Heads at their musical peak.