Remain in Light: Energetic, Entertaining and Weird Reissue
Written: Feb 23 '06
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Product Rating:
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Pros: Outstanding songs, very diverse, entertaining material...
Cons: May be a bit too diverse for some folks...
The Bottom Line: If your idea of "alternative rock" doesn't include worldbeat influences you aren't going to like this Talking Heads release. Otherwise, prepare yourself for a classic.
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| lambchops's Full Review: Talking Heads - Remain in Light |
Once in a Lifetime is among my elite few favorite songs of the 1980s. It is much more than just a hip, catchy new wave hit. It still elicits the same feeling from me as it did the first time I heard it. Much credit goes to the Talking Heads for not just recording a classic but also creating something so timeless its quality has yet to degrade.
Released in 1980, Remain in Light is among the most roundly appreciated albums from the Talking Heads. It is hard to say whether it is the best only because so many of the band’s albums including but not limited to 77, More Songs About Buildings and Food, Fear of Music, and Little Creatures are excellent. David Byrne (guitar, vocals), Jerry Harrison (keys), Chris Frantz (drums), and Tina Weymouth (bass) were difficult to classify. There were elements of punk, new wave, pop, and rock that helped make the band appealing to wide cross section of listeners.
Beginning with 1978’s More Songs About Buildings and Food, the band worked with famed producer Brian Eno. The Talking Heads were never afraid of experimentation and with the help of Eno they were able to create something entirely different and creatively free. Instead of focusing on the tired synthesized noise and guitar sound of their era, they turned to the drums and rhythms. They continued down a similar though developing path on third album Fear of Music but it was on Remain in Light that all the puzzle pieces came together. Wild, lively, quirky, and highly entertaining with forays into African beats it is a classic album. Plus I must admit to loving Byrne’s quivering, spitting vocal style. It works perfectly in the context of these songs and the Talking Heads sound.
I guess it should go without saying (again) that Once in a Lifetime is an outstanding song. It is filed in the fourth position on the album and definitely is a great reason to pick up Remain in Light. Of course it is by no means the only reason to buy this album—each of the original eight tracks is excellent. They flow effortlessly from my stereo through my ears before settling somewhere deep inside my heart and brain. Drums and twinkling synths open Once in a Lifetime. Byrne then speaks directly to his audience. He then opens up and sings the gorgeous, perfect, wonderfully melodic chorus. On one level the Talking Heads created a straightforward pop/rock track but pulling apart the layers of the acoustic and electronic rhythmic elements turns up the fact that it is something more obscure and international. I love that the band turned out a song that seamlessly blends usually unrelated musical elements.
Favorite songs aside, Remain in Light has so much more to offer. Only eight songs populate the original album (there are four more bonus offerings that follow the long pause at the end of The Overload) but they are consistent and excellent. This is one album where brevity definitely is to its advantage. The effort kicks off with Born Under Punches (The Heat Goes On). If I didn’t know better, I would think it was 1970s funk-inspired R&B…at least in the beginning with the chunky percussion and bass guitar. Once Byrne’s spiky, jumpy vocals make their appearance it is suddenly crystalline that this is the Talking Heads and that they are heavily leaning on world music influences. I love it—it is infinitely listenable even if it may be unlike anything else you’ve ever heard.
The exquisite weirdness continues with Crosseyed and Painless which is dominated by Weymouth’s bass guitar, echoing synths, African drums, and Byrne’s voice. The groovy, mid-tempo track resonates nicely though it is the next song, The Great Curve that really gets to me. A horn section bolsters the rhythmic, melodic song. Layers of vocals, instruments, and chanting make it different. It feels organic and tribal and when set aside the Talking Heads brand of new wave or pop (or whatever you choose to call it) I can’t help but think that a lot of people came to love the song without first realizing who performed it. Even better, when the electric guitar solo makes an appearance at the end, it is actually surprising—one of the only successfully “surprising” guitar solos I can think of in modern rock.
Along with Once in a Lifetime and The Great Curve, the fifth track Houses in Motion is among the album “best.” Returning to the funk-influenced style that I liked in earlier songs it combines horns, woodwinds, bass guitars, synths, and stylish percussion. Byrne’s combined chanting and singing works perfectly in the hip mid tempo track. To my mind, any song that can set electric guitars and drums alongside a flute is definitely going to be either a big success or a big bust. Houses in Motion is certainly the former. Seen and Not Seen is a stark clap-along, maraca and bass guitar driven track. Strange and wonderful, it is definitely a great song.
The last two songs of the original Remain in Light are Listening Wind and The Overload. I wouldn’t go so far as to say that either of these is a favorite but I still appreciate the creativity, originality, energy, and musicianship exhibited by the Talking Heads and their collaborators. I particularly like the dark, melancholic, even-keeled The Overload. It is probably the least similar song of the bunch still I can’t help but listen. In fact, it is easy to get lost in this album. It plays from start to finish without me even coming close to hovering over the skip button—quite an accomplishment in this fickle reviewer’s world. After a long pause at the end of the final song, the four bonus songs make an appearance.
Fela’s Riff, Unison, Double Groove, and Right Start are all previously unreleased unfinished outtakes. Fela’s Riff is an entirely instrumental song. It is well made and definitely smacks of the afro-beat sensibility that permeates this entire album. It is, however, also clear why the song remains unfinished—there is no room for Byrne’s trademark vocals. It’s fast, tight, and feels hurried. Unison has layers of vocals and instruments, yet it doesn’t really go anywhere. The best two songs…or at least most thought out…are Double Groove and Right Start. Of particular note is the latter which actually is an early version of Once in a Lifetime. There are few similarities aside from the general mood but it still is a lovely instrumental piece.
The Digipak release was actually originally part of Brick (the Talking Heads box set released in late 2005). Repackaged, each of the individual albums has been released to fans with a little less pocket change. The highlights of this album are obviously the original material, the enhanced and brilliant sounding remaster, the bonus material, and the two Rockpop appearances (Crosseyed and Painless and Once in a Lifetime). I also think the liner notes are worth mentioning. They contain the storyboard for the Once in a Lifetime video and a few original lyrics (in Byrne’s pen). This is without question an impeccable release—one that is long overdue. The DVD side of the new DualDisc release of Remain in Light includes the whole original album in 5.1 surround sound, “advanced resolution” 96khz/24bit surround & stereo sound, Dolby surround & stereo sound, a photo gallery, and the two bonus performance videos. Those previously unreleased videos of Crosseyed and Painless and Once in a Lifetime will certainly be treasured by fans. Though, for me, the real attraction to the new deluxe version is with the bonus tracks on the CD side and the original album (which, of course, still rocks).
Remain in Light is just one of eight Talking Heads DualDisc reissues in stores now.
Rating: 5/5 stars
Track Listing:
01. Born Under Punches
02. Crosseyed and Painless
03. The Great Curve
04. Once in a Lifetime
05. Houses in Motion
06. Seen and Not Seen
07. Listening Wind
08. The Overload
Bonus Tracks:
09. Fela’s Riff (Unfinished Outtake)
10. Unison (Unfinished Outtake)
11. Double Groove (Unfinished Outtake)
12. Right Start (Unfinished Outtake)
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Related Review:
Stop Making Sense (1984)
http://www.epinions.com/content_40621018756
Recommended:
Yes
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lambchops
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