Remain in Light

Talking Heads' 1980 album, "Remain in Light," is among the most inventive and fun albums in music history. It is absolutely a culmination of everything the band had been trying to do before, in their previous three albums, "Talking Heads: 77," "More Songs About Buildings and Food," and "Fear of Music." It is an explosive mix of angular funk and Afro-beat rhythms, erratic electronic textures, and front man David Byrne's playful yet insightful lyrics at their most effective. Given how sophisticated and nearly flawless the album is, it is surprising that none of the songs were complete before the band entered the studio. With the help of superproducer Brian Eno, the band pieced together a wealth of musical ideas that would become the multi-faceted, dynamic collection of songs known as "Remain in Light."

"Born Under Punches," the album's explosive opening track, chugs along at mid-tempo while Byrne nearly shouts his oddly inquisitive lyrics. "Crosseyed and Painless" ponders the mind's perception of truth in the album's most danceable funk track. It is surprising that this track doesn't receive play in dance clubs, as its rhythms are so driving and its melodies so catchy it never sounds old. "The Great Curve" is a percussion dominant, abrasive funk romp that explodes with energy. "Once in a Lifetime," the album's most popular track and probably Talking Heads' most famous song, explores suburban drudgery with lyrics such as, "and you may find yourself behind the wheel of a large automobile, and you may find yourself in a beautiful house, with a beautiful wife, and you may ask yourself, how did I get here?" placed alongside soothing ambient textures. "Houses in Motion" is a slow funky tune with swelling horn lines and African style percussion. "Seen and Not Seen" explores the human desire to impersonate what they see on television in a comically nonchalant spoken word alongside fluid electronic textures and a soulful refrain. "Listening Wind" explores colonialism's consequences in the album's most African influenced track. Adrian Belew's ambient guitar work creates a haunting windy effect that contrasts with the sparse rhythm section. The album's final track, "The Overload," recalls Joy Division in its droning and gothic yet frantic tone. Eno's influence is especially evident on this track in its prominent use of ambient found sounds, which only slightly fill in the space of the song.

The album's strength lies in its simultaneous danceability and artfulness. The songs absolutely overflow with energy and yet all seem to have some subtle, important insight into human feeling and perception. If not for the entrancing texture and whimsical lyrics, listen to this album at the very least for its consistently driving beats. A true gem of music in all respects.