I am not one who gets all star struck and such regarding the famous or celebrities, nor do I like the term musical hero. And who needs autographs, really. That’s for “other people. “That being said the highlight of my disc jockey tenure was meeting, yes I’ll admit it, my musical hero, David Byrne. After a show of his, circa 2004, I got to briefly go backstage for a meet and greet. Now don’t think I got all weird and shit because I didn’t. I acted normal. I did inform him that my favorite song ever written, my desert island tune was his, in collaboration with his Talking Heads band mates, This Must Be The Place (Naïve Melody). That is THE song, if I only had one choice, that I would ever need. I asked him what his desert island song would be and without much thought and what I think was very much an in the moment answer he replied, “Strawberry Fields Forever.” “There’s a lot going on in it,” he added. He posed for a few pics and signed my “Remain in Light” CD cover and my “Speaking in Tongues” album inner sleeve near the lyrics of TMBTP(NM). “It’s a love song.” My impressions of him from just that short time with him was that he is an odd but very likable fellow. He is smarter than you can imagine; well read and versed, eclectic and eccentric, interesting, and one tall, cool cat. Okay, okay. I broke all of my own rules. Yes I got a couple of autographs and I do consider him a hero. Gimme a break, will ya? This is David Byrne after all.
I woke up with that I really don’t want to go to work feeling. So, because I can, I took a sick day. After a much needed sleeping in, I finally got up. As the day has progressed, the weather outside has gone from humid and balmy to a steady rain. Blah. I know what will brighten up this gray, mid-week Sundayesque feeling afternoon, David Byrne’s “uh-oh.”
Towards the end of Talking Heads, one could hear a different musical direction the band was taking. The groups last studio record together was the 1988 release “Naked.” With the hint of world music running through it, I am a big fan of this album. I know some Talking Heads enthusiasts are not too keen on this one. But I encourage you to re-visit it. It really is a wonderful disc, that in the arc of the Heads career, stands alone in its own category of sorts. Byrne picked up the worldbeat offerings from “Naked” and took a full leap into the genre with his 1989 “Rei Momo.” Filled with actual Latin, Afro-Cuban and Brazilian music, Byrne fully immersed himself into a sharp contrast from his former band. His next project continues where “Rei Momo leaves off and sounds a bit more akin to “Naked.” “uh-oh” is a vivid, colorful, pallet of musical oranges, pinks, red and yellow hues, and that’s just the visual property of the album. The undercurrent is Byrne’s satirical, dry wit and his biting commentary on the world:
“Well, god can turn the world around
And he can push it in the dirt
And he can tear it all apart
And he don’t care who’all gets hurt” ^
“I’m mild as a bunny
I’m meek as a lamb
You lead me to slaughter
I’m mud in your hands” ^^
“Jesus, Mary and the Holy Ghost
Took one look and said, ‘Hey, we’re lost!’
‘How the hell do we get outa here?’
They shit their pants, they got so scared” ^^
(Pretending to shake my head), Oh David.
I enjoy all of Byrne’s solo works for varying reasons, but I think “uh-oh” may be the one that I overall enjoy the most. A solid record from start to
finish, I’ll give my props to: Tiny Town, Something Ain’t Right, Girls on my Mind, Monkey Man, The Cowboy Mambo (Hey Lookit Me Now), A Million Miles Away, Twistin’ in the Wind and the album closer, Somebody; I had forgotten what an amazing track this is. Another shout-out goes to the numerous instruments that can be heard on “uh-oh,” to name a few: cowbell, bass clarinet, vibes, alto, tenor & baritone saxophone, bongos, trumpet, trombone, including a tenor trombone, agogô, blocks, surdo, tamborim, bass guitar, guitar, flugelhorn, drums, clavinet, strings, triangle, French horn, voice, congas, maracas, timbales, synthesizer, oboe and whistle.^^^ Now, who doesn’t love a good whistle player?
One of the marvelous things about David Byrne’s career is that even though all of his work differs in theme and musical exploration, the consistent, common thread is him looking through his unique and very much his own quirky lens. Thankfully, he shares this view with the rest of us.
The rain is coming down harder now but the lingering sounds of “uh-oh” have brought some David Byrne sarcasm and sunshine into my apartment. Life is good.
“And you may ask yourself, well, how did I get here?”
I got here on Earth Day. The very first celebrated Earth Day came on April 22, 1970 in various U.S. cities including Washington, DC. In honor of this very special occasion, the album of the day is my absolute, all-time favorite. Ever. One more time for emphasis, EVER.
If you are like me, you not only have an album above none other, you also have an all-time top five bands/artists list (I love lists). Well, my top four is set in stone. The 5th slot changes. It is based on the day and mood, season, etc. Two, however, fight for the number one spot; only lately has Phish garnered the top slot. Today they drop to number two, where, frankly, they belong! LOL That distinction goes to Talking Heads. They are my all-time fav band, hands down. And yes, I love Phish probably as much and sometimes more. I am Beatles over Rolling Stones, ALWAYS. And I consider myself a Dead Head. Still, Talking Heads is all that plus a bag of chips, a hot dog and a diet coke! You get my point, I heart them. Now I have already mentioned that I have a best-loved album, “Remain in Light,” by my number one band, Talking Heads. Well, I don’t think you would be surprised that I also have an all-time favorite song, too. I call it my desert island song. Wouldn’t you just know it; it is a Talking Heads song. From the “Speaking in Tongues” record, This Must be the Place (Naïve Melody) takes my top song prize. It never drops a spot. Never. I could write an entire other blog entry about TMBTPNM, and I feel I possibly will exactly one year later. For today, I just wanted to give you the entire picture.
“Same as it ever was.”
I lived in Ohio in the beginning of the 1980s. We got MTV straight on. I remember seeing the Once in a Lifetime video* and thinking what and who is this? It was strange, bizarre and certainly out there. The beat pounded and the bass thumped. The melody had a catch, and then there were those lyrics: “You may ask yourself, what is that beautiful house? You may ask yourself, where does that highway go to? And you may ask yourself, am I right, am I wrong and you may say to yourself, my God what have I done?” WOW. This was my introduction to Talking Heads. I can even remember a visit to my Dad’s where we went to dinner with his friend and his friend’s daughter. She was only a year or two older than me. The restaurant had a jukebox and Once in a Lifetime came on. Both of us recognized and immediately asked each other, have you seen the video? Not soon after, a cassette tape of “RIL” was purchased.
By the time 1980 came around, Talking Heads had already cemented themselves in the music world with three highly acclaimed records. When I think of the overall arc of their career, I put these first three releases in one grouping or set. Their sound was a raw, punk meets art rock meets new wave. I always liked the simplicity of these records. Ahh, but don’t be fooled. Their simple had vigor and vitality. Brian Eno had produced the Heads 2nd and 3rd albums, “More Songs About Buildings and Food” and “Fear of Music.” Before “RIL,” the band took a break from touring and the members did their own things for a stint. Oh yes, the band members. Chris Frantz was the underrated drummer and was married to the bad ass bassist, Tina Weymouth. The ever talented Jerry Harrison provided keyboards and guitar. David Byrne was the eccentric, quirky, front man extraordinaire. He sang, played guitar, and was the primary song writer, especially the lyrics. During the short hiatus, Byrne and Eno began working on a project that would become the amazing record, “My Life in the Bush of Ghosts.” This album was a groundbreaking, innovative tour de force. It was the first album to use sampling. Painting in hues of ambience, experimental electronica, and third world music, this work would have a huge impact on “Remain in Light.” You could definitely hear a progression in their music from the first three records, but by the time they were ready to work on their fourth LP, they made a hard left turn that took them into an entirely new musical direction. The result was nothing short of extraordinary.
“Well I’m a tumbler…I’m a government man.”
When I first heard side one of the tape I had bought, I was almost bowled over by the sound. Okay, that is a little dramatic. It really wasn’t like that. However, I did feel a physical reaction to the music. Track one, Born Under Punches (The Heat Goes On). Like the title implies, the song starts our adventure with a bang. A drum intro into a David Byrne type scream; Bam, the music begins! (The use of the exclamation mark is appropriate). A thick bass, pingy rhythmic guitars and funky synth keys fire on all cylinders as this wall of sound emanates from the speakers. Using only one chord, these parts vamp throughout beneath David Byrne’s lyrical imagery. His first command, “Take a look at these hands. Take a look at these hands.” Almost a call and response, a layer of voices enters the mix whilst Byrne continues to lead the non-linear sermon. Throw in a tripped-out, video game sound effects, synth solo and you have begun your “Remain in Light” experience.
“The island of doubt, it’s like the taste of medicine.”
The immersion of African polyrhythms continues in the fact-filled Crosseyed and Painless*. Byrne leads the boat down a river of samples and loops while singing, “lost my shape trying to act casual.” Again, we get a call and response then an instrumental reprieve then the call and response again. This all leads to a climax where Byrne chooses a spoken word rap to convey the truth about facts:
“Facts are simple and facts are straight. Facts are lazy and facts are late.
Facts all come with points of view. Facts don’t do what I want them to.
Facts just twist the truth around. Facts are living turned inside out.
Facts are getting the best of them. Facts are nothing on the face of things.
Facts don’t stain the furniture. Facts go out and slam the door.
Facts are written all over your face. Facts continue to change their shape.”
Shout out to Tina’s bass line in this one. I particularly enjoy the sixteenth note that precedes her every other measure down beat. I know, I know, that sounds crazy. Well, when others play it and miss that note, it grates me a little. I won’t mention any names, Mike. Ha.
“Divine, to define, so say so, so say so
She…has got to move the world…to move the world…to move the world
Night must fall now-darker, darker.
Divine, to define, she is moving to define, so say so, so say so”
I enjoy every song on this album, but The Great Curve* is my favorite. Here, all of the instruments, rhythms and vocals merge to form a magnificent musical mosaic. Layer after layer builds to an eventual crescendo of a vocal frenzy; four separate parts all meeting together, one on top of the others. YES!
Guest musician Adrian Belew brings an almost outer worldly sound to his guitar solos. This tune may best exemplify the theme of the entire record; vivid colors and textures that you can almost taste. That is the power of this music; it evokes all of your senses when you are listening to it. Now how can you beat that?
“Letting the days go by…”
Side two begins with the minor hit Once in a Lifetime. A slightly different feel from side one, it still maintains the vamping and layers of the music. The harmonies in the chorus are delicious.
“I’m walking a line, just barely enough to be living.”
Much more like the first three songs, Houses in Motions* has a slower, darker tone to it. Byrne chooses more spoken word to deliver the lyrics over the salty funk groove that spills over if left unattended. Belew again adds another dimension with his guitar work. Love me some Houses in Motion. It never gets old.
“He wonders if he too might have made a similar mistake.”
I made a ringtone from the intro of this song. It is my text message alert on my phone. More samples? More layers? More loops? More spoken word? Why, yes. Seen and Not Seen gets overlooked. Don’t make that mistake.
“The wind in my heart. The dust in my head.”
The Listening Wind is the next to last track of the album. It has a more chains rattling in a haunted house kind of feel to it. Wax dripping. Night. A cautionary tale. Ghosts from the wood. A Tribe.
“I value these moments.”
The closing number is the psychedelic, for lack of a better word, The Overload. Droning bass, intense sound, a colorless voice; “a change in the weather. “ Shiver. This may seem like an odd choice to end the ride, but it’s damp and dank atmosphere reminds you there is warmth and light elsewhere.
“Still waiting. Still waiting.”
“Remain in Light” lives and breathes. Far ahead of its time, I consider it a masterpiece. It reaches, not just my head or body, but my blood and bones, too. It seeps in. I relish this record over and over again and feel blessed that my ears keep working. Now that’s a birthday gift that keeps on giving.
365, Album of the Day 2014 