“Within two days, we didn’t have a deal anymore,” she sighs. When the couple caught wind, they told him he couldn’t use the song, since their compilation was slated for release around the same time.īyrne, Weymouth alleges, pulled strings at Warner Bros.-home to Byrne’s solo work, the Talking Heads catalog, and Tom Tom Club at the time-to get his way. Without telling Tom Tom Club, he cleaned up the film’s version of “Genius of Love,” to include on the revamped soundtrack CD. “He wanted to rerelease Stop Making Sense to remind everybody what a superstar he was,” says Weymouth. Meanwhile, Byrne was busy with a nostalgic project of his own.
Originally, the plan was to assemble a Tom Tom Club greatest-hits package.
In a bizarre twist, Byrne also played a role in the genesis of The Good, the Bad and the Funky. Until the final dissolution of Talking Heads in 1995, periods of activity for Tom Tom Club typically correlated with stretches when Frantz and Weymouth’s other band was sidelined by Byrne’s solo commitments. She’s referring to the schism between Talking Heads founder David Byrne and the other three members. “We had a wonderful singer, but he decided to go off and do his solo thing.” “I became a singer by default,” she adds. The band’s 1982 Top 40 hit, “Genius of Love,” is a particular favorite Mariah Carey used the track to anchor her 1995 smash “Fantasy.”
And we said, ‘Hey, maybe we better make some more music they can sample.'” Over the past two decades, TTC tunes have been borrowed by a plethora of artists, including Ziggy Marley, Puff Daddy (oh, there’s a surprise), and Grandmaster Flash. In addition to simply missing making music, Weymouth says one factor that prompted the husband-and-wife rhythm section to resurrect Tom Tom Club was “that everybody was sampling us. But when Tina Weymouth and Chris Frantz inaugurated the band Tom Tom Club, they had no idea this wacky-as-Rhoda counterpart to the serious-as-Mary quartet that spawned it-Talking Heads-would take on such a long life of its own.Īfter an eight-year hiatus, Weymouth and Frantz return with a new incarnation of Tom Tom Club on The Good, the Bad and the Funky (Rykodisc), featuring 14 fresh reggae-, funk-, and ska-flavored tracks, infused with the sunny, free-spirited vibe that helped their eponymous 1981 debut achieve gold sales status. On television, sometimes a spin-off proves just as enduring as the series that spawned it.
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