Remain in Light

Source: Wikipedia, the free encyclopedia.

Remain in Light
Philadelphia
Genre
Length40:10
LabelSire
ProducerBrian Eno
Talking Heads chronology
Fear of Music
(1979)
Remain in Light
(1980)
The Name of This Band Is Talking Heads
(1982)
Singles from Remain in Light
  1. "Once in a Lifetime"
    Released: January 1981
  2. "Houses in Motion"
    Released: May 1981[1]
  3. "Born Under Punches (The Heat Goes On)"
    Released: August 1981 (Japan)
  4. "Crosseyed and Painless"
    Released: November 1981 (Germany)
Back cover
Album cover containing a drawing of a mountain range and four mostly red warplanes flying in formation. There is green text on the left hand side and a barcode in the top right corner.
Artwork originally created as front cover

Remain in Light is the fourth

studio album by the American rock band Talking Heads, released on October 8, 1980, by Sire Records. Produced by Brian Eno, his third album with the band, the audio was recorded at Compass Point Studios in the Bahamas and Sigma Sound Studios
in Philadelphia during July and August 1980.

After the release of

polyrhythms and funk with electronics, recording instrumental tracks as a series of looping grooves. The sessions incorporated a variety of side musicians, including guitarist Adrian Belew, singer Nona Hendryx, and trumpet player Jon Hassell
.

Byrne struggled with

stream-of-consciousness lyrical style inspired by early rap and academic literature on Africa. The artwork was conceived by bassist Tina Weymouth and drummer Chris Frantz, and crafted with the help of the Massachusetts Institute of Technology's computers and design company M&Co
. The band hired additional members for a promotional tour, and following its completion, they went on a year-long hiatus to pursue side projects.

Remain in Light was acclaimed by critics, who praised its sonic experimentation, rhythmic innovations, and cohesive merging of disparate genres. The album peaked at number 19 on the US Billboard 200 and number 21 on the UK Albums Chart, and spawned the singles "Once in a Lifetime" and "Houses in Motion". It has been featured in several publications' lists of the best albums of the 1980s and of all time, and is often considered Talking Heads' magnum opus. In 2017, the Library of Congress deemed the album "culturally, historically, or artistically significant",[2] and selected it for preservation in the National Recording Registry.[3]

Background

In January 1980, the members of Talking Heads returned to New York City after the tours in support of their 1979 critically acclaimed third album, Fear of Music, and took time off to pursue personal interests. Singer David Byrne worked with Brian Eno, the record's producer, on an experimental album, My Life in the Bush of Ghosts.[4] Keyboardist Jerry Harrison produced an album for soul singer Nona Hendryx at the Sigma Sound Studios branch in New York City; Hendryx and the studio were used during the Remain in Light recording on Harrison's advice.[5]

Drummer

percussion instruments, and socialised with the reggae rhythm section of Sly and Robbie.[5]

Frantz and Weymouth ended their holiday by purchasing an apartment above Compass Point Studios in Nassau, the Bahamas, where Talking Heads had recorded its second album, More Songs About Buildings and Food.[5] Byrne joined the duo and Harrison there in early 1980.[7] The band members realized that it had been solely up to Byrne to craft songs even though they were performed as a quartet. They had tired of the notion of a singer leading a backup band; the ideal they aimed for, according to Byrne, was "sacrificing our egos for mutual cooperation".[8] Byrne also wanted to escape "the psychological paranoia and personal torment" he had been writing and feeling in New York.[9] Instead of writing music to Byrne's lyrics, Talking Heads performed instrumental jams, using the Fear of Music song "I Zimbra" as a starting point.[7]

Eno arrived in the Bahamas three weeks after Byrne. He was reluctant to work with the band again after collaborating on the previous two albums. He changed his mind after being excited by the instrumental demo tapes.

hip-hop music made Talking Heads realize that the musical landscape was changing.[10] Before the studio sessions began, the band's friend David Gans told them that "the things one doesn't intend are the seeds for a more interesting future". He encouraged them to experiment, improvise and make use of "mistakes".[11]

Recording and production

A balding man speaking into a microphone is standing in front of an abstract painting containing blotches of orange and lime green and corrugated lines.
Brian Eno, here photographed in 2007, produced Remain in Light using stylised methods and sonic experiments.

Recording sessions started at Compass Point Studios in July 1980. The album's creation required additional musicians, particularly percussionists.

African music.[14] Eno's production techniques and personal approach were key to the record's conception. The process was geared to promote the expression of instinct and spontaneity without overtly focusing on the sound of the final product.[15] Eno compared the creative process to "looking out to the world and saying, 'What a fantastic place we live in. Let's celebrate it.'"[10]

Sections and instrumentals were recorded one at a time in a discontinuous process.[16] Loops played a key part at a time when computers could not yet adequately perform such functions. Talking Heads developed Remain in Light by recording jams, isolating the best parts, and learning to play them repetitively. The basic tracks focused wholly on rhythms and were all performed in a minimalist method using only one chord. Each section was recorded as a long loop to enable the creation of compositions through the positioning or merging of loops in different ways.[17] Byrne likened the process to modern sampling: "We were human samplers."[18]

After a few sessions in the Bahamas, engineer

reverb effects unit, obtained by engineer and mixer Dave Jerden, was used on the album.[20] The machine was one of the first of its kind and able to simulate environments such as echo chambers and rooms through interchangeable programs.[21] Like Davies, Jerden was unhappy with the fast pace at which Eno wanted to record sonically complicated compositions, but did not complain.[17]

The tracks made Byrne rethink his vocal style and he tried singing to the instrumental songs, but sounded "stilted". Few vocal sections were recorded in the Bahamas.

guitar synthesiser.[23] Belew ended up performing on the tracks that would become "Crosseyed and Painless", "The Great Curve", "Listening Wind" and "The Overload": in 2022, he recalled that "all of my parts were done in one day".[24]

Byrne recorded all the tracks, as they were after Belew had performed on them, to a cassette and looked to Africa to break his writer's block. He realized that, when African musicians forget words, they often make up new ones. He used a portable tape recorder and tried to create

Brass player Jon Hassell, who had worked on parts of My Life in the Bush of Ghosts, was hired to perform trumpet and horn sections.[27] In August 1980, half of the album was mixed by Eno and engineer John Potoker in New York City with the assistance of Harrison, while the other half was mixed by Byrne and Jerden at Eldorado Studios in Los Angeles.[28]

Music and lyrics

Casual portrait of John Dean sitting in his office with his feet on the desk
The testimony of Watergate scandal conspirator John Dean was one of several inspirations for the lyrics on Remain in Light.

Remain in Light features

stream-of-consciousness lyrics. David Gans instructed Byrne to be freer with his lyrical content, advising him that "rational thinking has its limits".[15]

Byrne included a bibliography with the album press kit along with a statement that explained how the album was inspired by African

African American former slaves.[49]

Like the other tracks, album opener "Born Under Punches (The Heat Goes On)" borrows from "preaching, shouting and ranting".[9] The expression "And the Heat Goes On", used in the title and repeated in the chorus, is based on a New York Post headline Eno read in the summer of 1980, while Byrne rewrote the song title "Don't Worry About the Government" from Talking Heads' debut album, Talking Heads: 77, into the lyric "Look at the hands of a government man".[25] Although the unorthodox guitar solo has often been credited to Adrian Belew, it was in fact performed by Byrne via the manipulation of the sample-and-hold function on a Lexicon Prime Time delay.[24]

The "rhythmical rant" in "Crosseyed and Painless"—"Facts are simple and facts are straight. Facts are lazy and facts are late"—is influenced by

old school rap, specifically Kurtis Blow's "The Breaks", given to Byrne by Frantz. "Once in a Lifetime" borrows heavily from preachers' diatribes.[49] While some critics deemed the song "a kind of prescient jab at the excesses of the 1980s", Byrne disagreed with the categorization and commented that its lyrics were meant to be taken literally: "We're largely unconscious. You know, we operate half awake or on autopilot and end up, whatever, with a house and family and job and everything else, and we haven't really stopped to ask ourselves, 'How did I get here?'."[10]

Byrne has described the album's final mix as a "spiritual" piece of work, "joyous and ecstatic and yet it's serious"; he has pointed out that, in the end, there was "less Africanism in Remain in Light than we implied ... but the African ideas were far more important to get across than specific rhythms".

notes.[25] "Spidery riffs" and layered tracks of bass and percussion are used extensively.[13]

The first side contains the more rhythmic songs, "Born Under Punches (The Heat Goes On)", "Crosseyed and Painless", and "The Great Curve", which include long instrumental interludes.[50] "The Great Curve" contains extended guitar solos by Belew, the first contributions that he made during his day in the studio.[23] Despite their electronic qualities, they were developed and performed prior to Belew owning a guitar synthesizer, and were achieved by him playing his Fender Stratocaster through a Roland Jazz Chorus 120 amplifier plus four effects pedals (a Big Muff, an Alembic Strat-o-Blaster reverb unit, an unidentified equalizer and an Electric Mistress flanger).[24]

The second side features more introspective songs.

rap techniques and the music of the Velvet Underground.[10] The track was originally called "Weird Guitar Riff Song" because of its composition.[49] It was conceived as a single riff before the band added a second, boosted riff on top of the first. Eno alternated eight bars of each riff with corresponding bars of its counterpart.[13] "Houses in Motion" incorporates long brass performances by Hassell, while "Listening Wind" features Arabic music elements and Belew adding textural content via the Electric Mistress and "(bending) the sound up and down while working a delay and the volume control on my guitar".[24] The final track on the album, "The Overload", features "tribal-cum-industrial" beats created primarily by Harrison and Byrne,[50] plus Belew's "growling guitar atmospherics".[24]

Packaging and title

Black-and-white aerial shot of four planes (with white stars on each wing and the body) flying in formation adjacent to each other over clouds.
Grumman Avengers, used by the US Navy, in which Weymouth's father had served, inspired the initial cover art, later used on the back of the LP sleeve after the album name change.

Weymouth and Frantz conceived the cover art with the help of Massachusetts Institute of Technology researcher

US Navy Admiral.[47] The idea for the back cover included simple portraits of the band members. Weymouth attended MIT regularly during the summer of 1980 and worked with Bender's colleague, Scott Fisher, on the computer renditions of the ideas. The process was tortuous because computer power was limited in the early 1980s and the mainframe alone took up several rooms.[27] Weymouth and Fisher shared a passion for masks and used the concept to experiment with the portraits. The faces (except for eyes, noses and mouths) were blotted out with blocks of red colour. Weymouth considered superimposing Eno's face on top of all four portraits to insinuate his egotism—Eno wanted to be on the cover art—but decided against it.[52]

The rest of the artwork and the

Weymouth advised Kalman that she wanted simple

sans serif font.[50] M&Co. complied, with Kalman coming up with the idea of inverting the "A"s in "TALKING HEADS".[54] Weymouth and Frantz decided to use the joint credit acronym C/T for the artwork, while Bender and Fisher used initials and code names because the project was not an official MIT venture.[50] The design credits read "HCL, JPT, DDD, WALTER GP, PAUL, C/T".[47] The final mass-produced version of Remain in Light had one of the first computer-designed record jackets.[10] Psychoanalyst Michael A. Brog has called its front cover a "disarming image, which suggests both splitting and obliteration of identity", and which introduces the listener to the album's recurring theme of "identity disturbance"; he has said, "The image is in bleak contrast to the title with the obscured images of the band members unable to 'remain in light'."[11]

Talking Heads and Eno originally agreed to credit all songs in alphabetical order to "David Byrne, Brian Eno, Chris Frantz, Jerry Harrison and Tina Weymouth" after failing to devise an accurate formula for the split,[52] but the album was released with the label credit: "all songs written by David Byrne & Brian Eno (except "Houses In Motion" and 'The Overload", written by David Byrne, Brian Eno & Jerry Harrison)".[12] Frantz, Harrison, and Weymouth disputed the credits, especially for a process they had partly funded.[19] According to Weymouth, Byrne told Kalman to doctor the credits on Eno's advice.[47] Later editions credit all band members.[55] Frantz said, "we felt very burned by the credits dispute".[19]

Promotion and release

A guitarist, a drummer, and a keyboardist are performing a song live in concert.
Talking Heads hired five additional musicians for the Remain in Light promotional tours.

Brian Eno advised Talking Heads that the music on Remain in Light was too dense for a quartet to perform.

New England Conservatory and Juilliard School.[56]

The expanded band's first appearance was on August 23, 1980, at the Heatwave festival in Canada in front of 70,000 people; Robert Hilburn of the Los Angeles Times called the band's new music a "rock-funk sound with dramatic, near show-stopping force".[57] On August 27, the expanded Talking Heads performed a showcase of tracks to an 8,000-person full house audience at the Wollman Rink as well as approximately another 10,000 seated on the grass outside the walls in New York City's Central Park.[58] The Canada and New York gigs were the only ones initially planned, but Sire Records decided to support the nine-member band on an extended tour.[4] After the promotional tour, the band went on hiatus for several years, leaving the individual members to pursue a variety of side projects.[45]

Remain in Light was released worldwide on October 8, 1980, and received its world premiere, airing in its entirety, on October 10 on WDFM.[59] According to writer David Sheppard, "it was received as a great cultural event as much as a vivid art-pop record."[39] Unusually, the album's press release included a bibliography submitted by Byrne and Eno citing books by Chernoff and others to provide context for how the songs were conceived. While the publicity shaped the album's critical reputation, not everybody was on board. “I didn't read those books,” said an incensed Weymouth.[60]

Remain in Light was certified Gold by the

Canadian Recording Industry Association in February 1981 after shipping 50,000 copies,[61] and by Recording Industry Association of America in September 1985 after shipping 500,000.[62] Over one million copies have been sold worldwide.[63]

Critical reception

Retrospective professional ratings
Review scores
SourceRating
AllMusic[64]
Chicago Tribune[65]
Christgau's Record GuideA[66]
The Irish Times[67]
Mojo[68]
Pitchfork10/10[40]
Rolling Stone[69]
The Rolling Stone Album Guide[70]
Spin Alternative Record Guide10/10[71]
Uncut[72]

The album attained widespread acclaim from media outlets.

Afrofunk synthesis—clear-eyed, detached, almost mystically optimistic".[74] Michael Kulp of the Daily Collegian wrote that the album deserved the tag "classic" like each of the band's three previous full-length releases,[75] while John Rockwell, writing in The New York Times, suggested that it confirmed Talking Heads' position as "America's most venturesome rock band".[76] Sandy Robertson of Sounds praised the record's innovation,[77] while Billboard wrote, "Just about every LP Talking Heads has released in the last four years has wound up on virtually every critics' best of list. Remain in Light should be no exception."[78]

AllMusic's William Ruhlmann wrote that Talking Heads' musical transition, first witnessed in Fear of Music, came to full fruition in Remain in Light: "Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential."[64] In the 1995 Spin Alternative Record Guide, Jeff Salamon praised Eno for reining in any excessive appropriations of African music.[71] In 2004, Slant Magazine's Barry Walsh labeled its results "simply magical" after the band turned rock music into a more global entity in terms of its musical and lyrical scope.[79] In a 2008 review, Sean Fennessey of Vibe concluded, "Talking Heads took African polyrhythms to NYC and made a return trip with elegant, alien post-punk in tow."[32]

Accolades and legacy

Remain in Light was named the best album of 1980 by Sounds, ahead of

the Skids' The Absolute Game, and by Melody Maker,[80][81] while The New York Times included it in its unnumbered shortlist of the 10 best records issued that year.[82] It figured highly in other end-of-year best album lists, notably at number two, behind The Clash's London Calling, by Christgau,[83] and at number six by NME.[84] It featured at number three—behind London Calling and Bruce Springsteen's The River—in The Village Voice's 1980 Pazz & Jop critics' poll, which aggregates the votes of hundreds of prominent reviewers.[85]

In 1989, Rolling Stone named Remain in Light the fourth-best album of the 1980s.

DJs, which placed the record at number 43 in the list of the 100 Best Albums Ever.[90] In 1999, it was included by Vibe as one of its 100 Essential Albums Of The 20th Century.[91] In 2000 it was voted number 227 in Colin Larkin's All Time Top 1000 Albums.[92] In 2002, Pitchfork featured Remain in Light at number two behind Sonic Youth's Daydream Nation in its Top 100 Albums Of The 1980s list.[86] In 2003, VH1 named the record at number 88 during its 100 Greatest Albums countdown,[93] while Slant Magazine included it in its unnumbered shortlist of 50 Essential Pop Albums.[94] Rolling Stone placed it at number 129 in its December 2015 issue of "The 500 Greatest Albums of All Time", higher than three other Talking Heads releases.[16] In 2006, Q ranked Remain in Light at number 27 in its list of the 40 Best Albums of the 80s.[95] In 2012, Slant listed the album sixth on its list of the "Best Albums of the 1980s".[96] In 2020, Rolling Stone included Remain in Light in its "80 Greatest albums of 1980" list, praising the band for fusing "new Wave, world beat, funk, and more, which resulted in the most danceable record of their career."[97] The same year, Rolling Stone ranked it number 39 on its updated list of the "500 Greatest Albums of All Time".[98]

The English band Radiohead credited Remain in Light as a major influence on their 2000 album Kid A.[99] The guitarist Jonny Greenwood had assumed Remain in Light was composed of loops, but later learnt from Harrison that Talking Heads had played the parts repetitively. Greenwood said: "It's played the same exact thing for five minutes, which is really interesting. And that's why it's not exhausting to listen to because you're not hearing the same piece of music over and over again. You're hearing it slightly different every time. There's a lesson there."[100]

In 2018, the Beninese singer Angélique Kidjo released a song-for-song cover of Remain in Light (produced by Jeff Bhasker and released on his Kravenworks label). She described herself as a longtime fan of the song "Once in a Lifetime" and wanting to pay tribute to the album by emphasizing its inspiration from African music.[101][102]

In 2022, Harrison and Belew united for three concert dates in honor of the album's 40th anniversary, where they played all of Remain in Light plus several more Talking Heads songs. In 2023 they expanded the project to a full North American tour.[103][104]

Track listing

All lyrics are written by David Byrne, except "Born Under Punches (The Heat Goes On)" and "Crosseyed and Painless", written by David Byrne and Brian Eno; all music is composed by Byrne, Eno, Chris Frantz, Jerry Harrison and Tina Weymouth

Side one
No.TitleLength
1."Born Under Punches (The Heat Goes On)"5:49
2."Crosseyed and Painless"4:48
3."The Great Curve"6:28
Side two
No.TitleLength
1."Once in a Lifetime"4:19
2."Houses in Motion"4:33
3."Seen and Not Seen"3:25
4."Listening Wind"4:43
5."The Overload"6:25

Personnel

Those involved in the making of Remain in Light were:[50][51][55]

Talking Heads

  • David Byrne – lead vocals, keyboards, guitars, bass, percussion, vocal arrangements
  • Jerry Harrison – keyboards, guitars, percussion, backing vocals
  • Tina Weymouth – keyboards, bass, percussion, backing vocals
  • Chris Frantz – keyboards, drums, percussion, backing vocals

Additional musicians

Production

Charts

Weekly sales chart performance of Remain in Light
Chart (1980/81) Peak
position
Australia (Kent Music Report)[105] 25
Canadian Albums Chart[106] 6
New Zealand Albums Chart[107][dead link
]
8
Norwegian Albums Chart[107][dead link] 28
Swedish Albums Chart[107][dead link] 26
UK Albums Chart[108] 21
US Billboard 200[4] 19
Weekly chart performance for Remain in Light
Chart (2023) Peak
position
Croatian International Albums (HDU)[109] 10
Hungarian Physical Albums (MAHASZ)[110] 23
Year-end chart performance for Remain in Light
Chart (1981) Position
US Billboard 200[111] 87

Certifications and sales

Sales certifications for Remain in Light
Region Certification Certified units/sales
Canada (Music Canada)[112] Gold 50,000^
United Kingdom (BPI)[113] Gold 100,000
United States (RIAA)[114] Gold 500,000^

^ Shipments figures based on certification alone.
Sales+streaming figures based on certification alone.

See also

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Bibliography

Further reading

External links