Overlords
Talking Heads - Remain In Light [SRK 6095 UK 1980 24-Bit FLAC]
I have often praised the quality of early European Warners' pressings and this first UK pressing of Remain In Light is no different - to be honest, I think all European copies were pressed in Germany at the time. This album is one from a trio of my favourite Talking Heads albums released between 1979 and 1982. I know there are likely many who favour their first two long players, and many fewer who preferred their final three. Remain In Light and Fear Of Music were both produced with Brian Eno whose footprint is most notable on the darkest track, The Overload. Most of this album represents a funky pop groove, whereas the closer shimmers with echoes of Bowie's Low combined with the ghostly lyrical style of Ian Curtis.
I recall previous discussions online regarding David Byrne's interest in the post-punk funk sound of A Certain Ratio who supported Talking Heads on a number of dates in late 1979. These theories are quashed when you realise that the funky I Zimbra on the pre-dating Fear Of Music has a similar feel to this album, added to Jez Kerr's recent recollection of when Tina Weymouth helped him develop his own bass technique on that tour, we can be assured that Byrne's interest in the young Mancunians was only out of respect for fellow musicians and the timing of Talking Heads' move towards a funkier sound was purely coincidental.
A1 Born Under Punches (The Heat Goes On)
A2 Crosseyed And Painless
A3 The Great Curve
B1 Once In A Lifetime
B2 Houses In Motion
B3 Seen And Not Seen
B4 Listening Wind
B5 The Overload

https://mega.nz/file/uVYWVCjY#JbRoXcROkYwJ68Q_mf2sjXMUl-1CprR7-noRDjjzzi0
ReplyDeleteThank you, Blogmeister !
ReplyDelete(Psst: not Overlord, and explained by: The final track on the album, "The Overload," was Talking Heads' attempt to emulate the sound of British post-punk band Joy Division. The song was made despite no band member having heard the music of Joy Division; rather, it was based on an idea of what the British quartet might sound like based on descriptions in the music press. The track features "tribal-cum-industrial" beats created primarily by Harrison and Byrne.) [wikipedia]. You're right, The Overload's hesitant yet ominously remorseless beats and circular vocal patterns really are a standout on a very fine album.
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