Archive for the ‘CLASSIC ALBUMS’ Category

COURTNEY MARIE ANDREWS – ” Old Flowers “

Posted: July 23, 2020 in CLASSIC ALBUMS, MUSIC
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We first got to know Courtney Marie Andrews back in 2018 when she recounted for us her journey from emo to country on the occasion of releasing her breakthrough Americana solo record May Your Kindness Remain. Just two years later and it sounds like she’s been churning out these folksy sounds her entire career with her heartbroken new LP Old Flowers.

Perhaps that was the missing ingredient in her solo career, which now spans over a decade—the themes of love and heartbreak haunt the new record in a way that never felt this present on previous releases. The shaky minimalism of songs like “If I Told” are shockingly vulnerable, while full-band numbers like “It Must Be Someone Else’s Fault” match this openness in Andrews’ lyrics.

In the spirit of this theme of love and heartbreak, CMA has assembled eleven tracks that she sees as spiritual predecessors to Old Flowers’ lovelorn charm.

I wanna tell you about the small group of musicians on this record. At the beginning of 2019, I wanted to try out a few producers to test out who would best fit these songs. After only one session with Andrew Sarlo, I knew he had the keen empathy and magic to produce this very personal record. He was very in tune with the vision. We both agreed the record needed to be soft and intimate, so we decided to only take two musicians on board as the band. One of those players is one of my favourite musicians in the whole world, Matthew Davidson (Twain) He is a big part of this record, and recording with him is inspiring because every take is a journey. Then, Sarlo suggested we bring James Krivchenia on board to play drums, but James ended up adding so much more. Playing with these two in a room was pure inspiration and magic. Every take was its own, a journey into possibility. Nothing felt regimented or sterile. It felt like throwing paint on canvas, no sound off-limits.

I am proud to release the final single from my new upcoming record,
‘Old Flowers’. (Coming out July 24th!) ‘How You Get Hurt’ is a heartbreak saga. Learning to love again, but afraid and unsure? This song is for you. Recording this offered so many magical moments in the studio and this one sits close to my heart

Old Flowers is out this Friday, July 24, via Fat Possum Records

DAWES – ” Who Do You Think You’re Talking To? “

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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From the first downbeat, Good Luck With Whatever, the seventh studio Album by the Los Angeles based rock band Dawes, sets a tone all its own. The album unfurls with the crunchy chordal cadence of what could only be Goldsmith’s guitar. As the band quickly hop their way aboard this rhythmic rail car, we find ourselves thinking “Hey, these guys are pretty good. I’m so glad you dragged me to see some live music!” — “Still Feel Like A Kid” serves as a reminder that we all love a good filet, but there’s no shame in still ordering off the kids menu from time to time. You can hear the eye contact in the room, you can see the lyrics as they fly from Goldsmith’s mouth straight into your ears, you’ll find yourself singing along to a song you’re hearing for the first time. It’s fresh, it’s raw, it’s a four tiered seafood tower of all American ear candy. Think “I Don’t Wanna Grow Up, I’m A Toys R Us Kid” meets “I Wanna Be Sedated”.

Recorded at the historic RCA studios in Nashville Tennessee, the boys teamed up with six time Grammy award winning producer Dave “Corn On The” Cobb (Brandi, Jasi, Chrisi, Stergi, etc) and just decided to LET IT RIP. “We were out in Nashville for just under 730 hours, or 1 human month” says bass player and resident ‘problem child’ Wylie Gelber. “We wanted that sloth like urgency, that cold heat, that all knowing curiosity. And me thinks that’s what we got.” The arrangements are as lively as they are lovely, from the rapidly ruckus “Who Do You Think You’re Talking To” to the robustly restrained “St. Augustine at Night”. A culmination of their entire catalogue and career all wrapped up in nine tracks. If you don’t know Dawes by now, you will never never never know them…

Far from apathetic,Good Luck With Whatever is Dawes at their most unapologetic. It’s sympathetic and magnetic, 50% genetic and highly kinetic. Songs like “Didn’t Fix Me” and “Me Especially” showcase Goldsmith’s poetic prowess perfectly; a historian of the human condition, transforming turmoil into motor oil. Drop the tone arm down, turn the volume up, unplug the phone and if you still feel nothing… call a doctor.

This album is a celebration of each other and our closeness as a group. It’s the 4 of us live in a room not hiding behind any sort of studio magic. This band has made us stronger and brought us closer through the years and we’re recognizing that and are more proud of that than ever.

“This song is about the way we bring our baggage with us as we move away from traumatic experiences and relationships. And the irony of sometimes our newer partners needing to be part of the processing more so than the folks who caused the trouble in the first place.

It’s also about the other side of that coin – trying to assess a situation but knowing when not to take it personally and also finding a way to avoid over analyzing.

As a band it was the first time we’ve ventured into certain grooves/arrangements for our tunes, so it was fun to push ourselves, see what felt natural and what we could get away with.” Dawes began their journey in the San Fernando Valley back in 2009, it was the year of the Ox, but don’t be fooled, these guys are No Bulls#$t. Having played with, for, and against some of rock’n roll’s most illustrious icons, the merry men have picked up more than a few things when it comes to sticking around and what it means to be a true BAND. “Sometimes I wish I did hate my brother”, explains frontman/stuntman Taylor Goldsmith, “might sell us a few more books… but the reality is, I can’t get enough of the guy! Scariest part bout’ it all is, knowing we’re gonna be playing music together for a long, long time.”

Taylor Goldsmith (Guitar, Vocals) – Griffin Goldsmith (Drums, Vocals) Wylie Gelber (Sweet Sweet Bass) – Lee Pardini (Keys, Vocals)

Dawes “Wish Everyone Good Luck With Whatever” July 22nd, 2020

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The ROLLING STONES – ” Scarlet ” Feat Jimmy Page

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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Another new old song from the upcoming reissue of Goats Head Soup. This one features Jimmy Page and was probably named after his daughter. It has a very cool groove to it.

The Stones’ Keith Richards has his own recollections on how “Scarlet” took shape and how “we walked in at the end of a Zeppelin session. They were just leaving, and we were booked in next and I believe that Jimmy decided to stay.”

 

“Scarlet” was a freak accident. “We weren’t actually cutting it as a track,” enthuses Richards in a statement, “it was basically for a demo, a demonstration, you know, just to get the feel of it, but it came out well, with a line up like that, you know, we better use it.‘’. Goats Head Soup 2020 — coming September 4th & featuring unheard tracks, demos, outtakes, live performances & more. You can listen to ‘Criss Cross’  and now today the track “Scarlet” one of three unheard tracks – and pre-order the album across multiple formats, including expansive 4LP & 4CD boxsets. This classic album has been restored to its full glory with a new stereo album mix, sourced from the original session files:

Originally recorded in October 1974, this track has never been released before – featuring legendary Led Zeppelin guitarist Jimmy Page and guests Blind Faith’s Rick Grech on bass. “I remember first jamming this with Jimmy and Keith in Ronnie’s basement studio. It was a great session.” – Mick Jagger

One of three unheard tracks featured on Goats Head Soup 2020, sitting alongside an all-new stereo mix of the original 1973 album, plus demos, outtakes, live performances & more. Goats Head Soup 2020, out September 4th! Another prized jewel in the Rolling Stones‘ unmatched catalogue is restored to its full glory. Features the new stereo album mix, sourced from the original session files.

 

The Rolling Stones: Goats Head Soup 2020 – Half Speed Master 180g Vinyl + Bonus Etched 7”

The DREAM SYNDICATE – ” The Complete Live At Raji’s “

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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Today, we’re taking a look at four recent titles pressed for audiophile-level vinyl excellence by the Run Out Groove label!

Run Out Groove embraces the Paisley Underground with the vinyl premiere of The Dream Syndicate’s The Complete Live at Raji’s.  Recorded on January 31st, 1988 (not 1989, as indicated on the original CD release of the truncated album), the set captured the underground heroes prior to the release of their Ghost Stories album – and a year prior to their breakup.  But the line-up, at this point consisting of Steve Wynn (vocals and guitar), Paul B. Cutler (guitar, vocals), Mark Walton (bass, vocals), and Dennis Duck (drums), was as tight and attuned to each other as possible.  The fifteen songs played that evening at the Hollywood club and preserved here on four sides of 180-gram, colorful swirl vinyl attest to that.

The original Live at Raji’s was released by Rykodisc as the band’s final album, following Ghost Stories. The 2004 expansion – the basis for this vinyl release – added four tracks including two covers (the fast and furious opener, Blind Lemon Jefferson’s “See That My Grave is Kept Clean,” and Bob Dylan’s ominous “All Along the Watchtower,” rendered with a dollop of Hendrix inspiration) and two Dream Syndicate favourites – “When You Smile” and “Tell Me When It’s Over.”  The sound on the vinyl as mastered by Paul duGré is full and warm, with dynamics that well translate the intimacy of the venue and the power of the performance – particularly in Cutler’s searing lead guitar and Wynn’s fiery growl.  The spare, aggressive overall sound owes to the swaggering likes of Television and The Velvet Underground as well as to the rawer, electric side of Neil Young, whose frequent collaborator Elliot Mazer produced the original live album.

The two LPs are housed in a sturdy gatefold containing liner notes by Pat Thomas, who co-produced the reissue with Run Out Groove’s Matt Block.  Now Sounds’ Steve Stanley has designed the bold jacket, and both of the discs are happily stored in black protective sleeves as per Run Out Groove’s typical attention to detail in packaging.

Though never commercially successful, Paisley Underground darlings – the Dream Syndicate were critically acclaimed and held up their version of neo-psychedelic rock n’ roll through the vapid MTV-dominated synth years of the 1980s. Influenced by the Velvet Underground, Neil Young and Television, the Syndicate led by vocalist, guitarist and band leader, Steve Wynn, formed the original version of the band with guitarist Karl Precoda in 1982 after moving back to Los Angeles.

Drummer Dennis Duck, who played in the Pasadena band, Human Hands, joined the Syndicate and suggested the band’s name in reference to Tony Conrad’s early 1960s NY experimental ensemble that included John Cale. The band performed their first live show at Club Lingerie in Hollywood on Feb 23, 1982 and later signed to Slash Records’ subsidiary, Ruby Records, releasing their enigmatic and best known album, “The Days of Wine and Roses.” After a brief hiatus in the latter 1980s, Wynn, Duck and bassist Mark Walton joined with guitarist Paul Cutler who had produced the band’s very first EP. By 1988 the band was on Enigma Records and began a relationship with producer Elliott Mazer, who produced Neil Young’s “Time Fades Away.” Mazer produced “Live at Raji’s”. 

ROGER and BRIAN ENO – ” Celeste “

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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Roger & Brian Eno

Roger and Brian Eno’s creative collaboration ‘Mixing Colours’ continues with seven additional tracks. New music will appear on a special vinyl 12” EP ‘Luminous’ And digitally on ‘Mixing Colours Expanded‘ –  Brian Eno and Chilvers have worked together on videos for the album Mixing Colours that distil the album’s essence, marrying the simplicity and contemplative qualities of its soundscapes with suitably uncomplicated, mesmerising imagery of slowly-changing, dreamlike panoramas. Whether or not these settings are familiar, their impressionistic character lends them an enigmatic anonymity, encouraging the mind to wander into worlds both real and imagined. “The more you listen to this,” says Roger, “particularly with the fabulous worlds that Brian has created, you can really walk into this enormous landscape and stay.” Roger & Brian Eno – “Celeste”

“There’s a huge commonality between what we’re interested in.” Roger Eno, “These pieces are very Impressionistic and very much to do with sonic quality, sonic colour.” Brian Eno

Roger Eno and Brian Eno – together and individually among the foremost innovators in experimental ambient music – will release their first album on Deutsche Grammophon: Mixing Colours.

Brian and Roger Eno have revolutionized many concepts of music production and performance, from pioneering treatments of pop music by Brian Eno to younger brother Roger Eno’s ambient synth/piano recordings reminiscent of Erik Satie.  The result is deep-dive listening and landscapes of sound bearing titles like abstract art: Obsidian, Deep Saffron, or Wintergreen. This debut DG release will reach a wide new audience still unfamiliar with their artistry. The poetic and ambient anthology reveals two celebrated ambient musicians at the height of their artistry.

DAVID BOWIE – ” Ouvrez Le Chien ” Live In Dallas 95′

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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David Bowie - Ouvrez Le Chien Image

We can’t pronounce it either, but damn if don’t sound good! Bowie’s “OUVREZ LE CHIEN” was recorded live at the Starplex Amphitheater, Dallas, 13th October, 1995, during the US leg of the Outside Tour. It also features two bonus tracks Moonage Daydream and Under Pressure recorded live at the National Exhibition Centre, Birmingham, 13th December, 1995. Previously available on the Hallo Spaceboy CD single, both tracks are making their streaming debut.

This unreleased David Bowie concert recording from 1995 will debut on streaming services July 3rd with the release of “Ouvrez Le Chien (Live Dallas 95)”.

The live LP captures the late icon midway through his tour in support of 1995’s Outside. The gig’s set list leans heavily on that Brian Eno co-produced album, with tracks like “The Voyeur of Utter Destruction (as Beauty),” “I Have Not Been to Oxford Town,” “I’m Deranged,” and “The Hearts Filthy Lesson.”

The mysterious phrase ‘Zane, zane, zane, ouvre le chien’ (‘open the dog’ in French) had originally appeared on Bowie’s 1970 album track ‘All The Madmen’. He used it again in 1993 on the song ‘Buddha Of Suburbia’. Ouvrez Le Chien added the missing ‘z’ from ‘ouvrez’. The grammatically-correct phrase, and its English counterpart, was used in the stage set of the Outside Tour. It does not, however, appear elsewhere on the album.

Finally the round and round ending comes with various vocal parts coming in as counter melodies plus the immortal words, ‘Zane, Zane, Zane, ouvre le chien’, which means ‘Zane, open the dog’ in English. What does that mean? I’ll leave it to your imagination, although it has been analysed many times. This track [‘All The Madmen’] is sensational in every way, a five minute and 40 second symphonette.

The concert also finds Bowie delivering updated takes on classics like “Teenage Wildlife,” “The Man Who Sold the World,” and “Andy Warhol.” The digital album features a front cover image photographed by Bowie’s wife Iman. Ouvrez Le Chien (Live Dallas 95) contains sixteen songs, fourteen of which were recorded at the Starplex Amphitheater 1995, with Nine Inch Nails supporting Bowie. Six of Ouvrez Le Chien’s songs were from Bowie’s 1995 album Outside. There were one apiece from The Man Who Sold The World (the title track), Hunky Dory (‘Andy Warhol’), Ziggy Stardust (‘Moonage Daydream’), Low (‘Breaking Glass’), “Heroes” (‘Joe The Lion’), Lodger (‘Look Back In Anger’), Scary Monsters (And Super Creeps) (‘Teenage Wildlife’), and Black Tie White Noise (‘Nite Flites’).

In addition to the Starplex Amphitheater show, a pair of songs from a Birmingham, England, concert from December 13th, 1995  will also be included on Ouvrez Le Chien (Live Dallas 95). Both tracks previously appeared as B sides on the “Hallo Spaceboy” single, but make their streaming debut with this release.

The Bowie estate most recently explored the singer’s Earthling-era live recordings with the LiveandWell.comset.

The Band :

Personnel

David Bowie: vocals, saxophone
Reeves Gabrels: lead guitar, vocals
Carlos Alomar: rhythm guitar
Gail Ann Dorsey: bass guitar, vocals
Mike Garson: piano, keyboards
Peter Schwartz: keyboards, synthesisers
Zachary Alford: drums
George Simms: vocals

EAGLES – ” Live From The Forum ” 4 LP Set

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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Live From The Forum MMXVIII 4LP

Live Album And Concert Film Captures Definitive, 26-Song Performance Recorded Live Over Three Nights At The Forum In Los Angeles In September 2018

The Eagles spent most of 2018 on the road with an extensive North American tour that found Don Henley, Joe Walsh, and Timothy B. Schmit joined by two new bandmates: Deacon Frey and Vince Gill. Earning rave reviews from fans and critics alike, the quintet was firing on all cylinders when they arrived at the Forum in Los Angeles for three sold-out, hometown shows on September 12th, 14th, and 15th. Highlights from all three shows have now been compiled for a new 26-song live album and concert film LIVE FROM THE FORUM MMXVIII.

LIVE FROM THE FORUM MMXVIII captures definitive live performances of the band’s most iconic hits (“Hotel California,” “Take It Easy,” “Life In The Fast Lane,” “Desperado”) and beloved album tracks (“Ol’ 55,” “Those Shoes”), along with some of the individual members’ biggest solo smashes (Don Henley’s “Boys Of Summer,” Vince Gill’s “Don’t Let Our Love Start Slippin’ Away,” Joe Walsh’s “Rocky Mountain Way”).

The band: Guitar, Vocals: Deacon Frey Drums, Vocals: Don Henley Producer: Don Henley Guitar, Vocals: Joe Walsh Piano: John Corey Backing Vocals: John Corey Supervisor: Richard F.W. Davis Drums, Percussion: Scott F Crago Guitar, Mandolin: Steuart Smith Backing Vocals: Steuart Smith Bass, Vocals: Timothy B. Schmit Guitar, Vocals: Vince Gill Keyboards: Will Hollis Backing Vocals: Will Hollis

CATHERINE ANNE DAVIES & BERNARD BUTLER – ” In Memory Of My Feelings “

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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Needle Mythology is back with a new release, And with their very first release of brand new music. Bernard Butler & Catherine Anne Davies’ In Memory Of My Feelings LP is out 18th September on heavyweight vinyl in gatefold sleeve, including a bonus 7″ with a cover of Madonna’s Live To Tell.

Ironically, despite being conceived in 2010 then completed in 2014, In Memory of My Feelings only took 15 days to make. The biggest battle facing its creators was finding someone to release it, where music journalist cum label owner Pete Paphides duly obliged in making it the first “new” release on his Needle Mythology imprint, which up until now has solely put out reissues.

In Memory of My Feelings is a very personal record, particularly for Davies, who wrote all of the lyrics. Nevertheless, the meeting of minds between two very talented individuals means the arrangements veer from sparse, such as on opener and lead single “The Breakdown,” or the exquisitely tender “I Know” and despondent penultimate number “The Patron Saint of the Lost Cause,” to the more upbeat and up-tempo, rockier pieces like “Sabotage (Looks So Easy)” and “Judas,” where Butler’s signature guitar sound rises to the fore.

Elsewhere, “The Waiting Game” could be a Manic Street Preachers outtake from the Resistance Is Futile sessions (if you’ve heard Davies’ contributions to that record you’ll understand where I’m coming from), while closer “F.O.H.” could be a distant relative of “P.S. Fuck You” off Davies’ alter ego The Anchoress’ 2016 long player Confessions of a Romance Novelist.

“I’m not especially interested in recreating whatever’s worked on previous projects,” Bernard Butler . “Odd is what I look for – and, by ‘odd’ what I really mean is ‘character’. And as for that Madonna cover? “When I was 16, Live To Tell allowed me to join the dots in song writing between True Blue and The Queen Is Dead.”

Catherine Anne Davies loves the song to (as do we – both the original and their 7″ cover). “I don’t know what Madonna wrote it about,” she told us, “but the resonances in a post-#metoo world are impossible to miss.”

’The Breakdown’ is the first offering to be lifted from the forthcoming collaborative album by Catherine Anne Davies (aka The Anchoress) and Bernard Butler. ‘In Memory Of My Feelings’ will be released via Needle Mythology on 18th September, 2020 and is notable as the first new master recording for Pete Paphides‘ label. The Breakdown explores the personal price to the pursuit of economic wealth and the failures of free market capitalism, framed through the story of one investment banker’s catastrophic breakdown. Butler adds “Musically the song is deliberately dysfunctional with an unorthodox slowed up 10/8 meter.

The piano arpeggio is played forwards then backwards to symbolise the dysfunctional dreamlike beauty of the breakdown” Taken from the forthcoming album ‘In Memory Of My Feelings’, out 18th September on Needle Mythology. Limited edition formats include 2LP +7” w/ signed lyric sheet and gatefold replica CD with signed postcard available for a limited period exclusively via the Official store.

Catherine Anne Davies – vocals Bernard Butler – piano Rex Horan – upright bass

DAMAGED BUG – ” Bug On Yonkers “

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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John Dwyer returns with his Damaged Bug project. ‘Bug On Yonkers’ features covers of Michael Yonkers tunes,

“I first heard Michael Yonkers via the Microminature Love reissue (Sub Pop) and was immediately hooked. I started collecting any piece of his legend that I could…some true, some likely not.
He had hand-built all of his gear. He had broken his back. He was part of experimental surgery that left him in lifelong pain. He was a dancer. He was still kicking around making some of the oddest and most contrary-to-contemporary-popular-norms type of music.

And then I heard Goodby Sunball, recorded and released in 1974, the year I was born. I had and have a very deep connection with this set of songs. I wasn’t sure why, but when I finally met Michael, I understood. He was kind and seemingly a pretty regular guy. But he was also a weirdo. A rare bird, waving the true freak music flag, and it didn’t matter what kind of music he made, I loved it all.

So, this record was recorded as a way to reboot and reconnect with some songs that have heavily inspired me over the years.  It was hard to pick from his vast catalogue, so I just sort of jumped in, with Tom Dolas, Nick Murray, and Brigid Dawson as my band (along with a bevy of others along the way) and these are the tunes that stuck to the wall.

I will forever be grateful to Mr Yonkers for bringing me a little joy with his music and inspiring weirdos everywhere.” – John Dwyer, Feb 2020.

“Sold America” by Damaged Bug. Written and published by Michael Yonkers BMI. From the forthcoming LP “Bug On Yonkers”, out on Record Store Day 2020 from Castle Face Records

TALKING HEADS – ” Remain In Light ” Classic Albums

Posted: July 22, 2020 in CLASSIC ALBUMS, MUSIC
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Remain In Light (Deluxe Version)

This is not only Talking Heads’ best record, it’s on the shortlist of the most innovative albums ever made. Under the influence of Brian Eno, the group began to weave African music into the dance grooves (years before Paul Simon’s ‘Graceland’ did the same thing in a less transformative manner). Also, Eno and the members implemented the cutting-edge tactic of crafting loops and samples to form the core of tracks. That was unheard of when it came to rock, so it makes the music on this album a second cousin of hip-hop (another influence on the album in terms of Byrne’s delivery). Few bands have ever been so fearlessly creative as to make an extended tribal groove that is as breakneck as it is epic, then perforate it with a snarling guitar solo from Adrian Belew (“The Great Curve”). “Once in a Lifetime” is so weird, it’s hard to believe it’s become a celebrated staple of our musical past. Such is the power of a dive-bombing bass line, intriguing synthesizer sounds and Byrne’s nervy, nerdy charisma. After running themselves ragged on the earlier parts of the album, Talking Heads slow down and stretch out on the last three tracks, proving that they can be just as interesting after the dance party ends. Droning closer “The Overload” adds layer after layer of texture as it stretches into the void as the occasional squawking loop pays homage to another, great meditative final track: “Tomorrow Never Knows.” Is there a way for such dark thoughts to remain in light? Talking Heads found a way.

“And you may ask yourself, well, how did I get here?” The amazing “Once In A Lifetime” only hinted at the burst of creativity on the Talking Heads album “Remain In Light”. The 1980 Sire Records album finds the quartet incorporating African polyrhythms into its music, as well as making innovative use of loops and samples as instrumental tracks. Brian Eno returns as producer (guitarist Adrian Belew and funk keyboard great Bernie Worrell also contribute to the album), helping strike an appealing balance between danceable grooves (“Born Under Punches (The Heat Goes On),” “Crosseyed And Painless”) and more experimental fare (“Houses In Motion,” “The Overload”). The Deluxe Edition of REMAIN IN LIGHT adds four previously unreleased outtakes to the landmark alternative rock album; we’ll give the collection a spin now to wish Heads frontman David Byrne a happy birthday.

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.

“And you may ask yourself, well, how did I get here?” The amazing “Once In A Lifetime” only hinted at the burst of creativity on Talking Heads’ Remain In Light. The 1980 Sire Records album finds the quartet incorporating African polyrhythms into its music, as well as making innovative use of loops and samples as instrumental tracks. Brian Eno returns as producer (guitarist Adrian Belew and funk keyboard great Bernie Worrell also contribute to the album), helping strike an appealing balance between danceable grooves (“Born Under Punches (The Heat Goes On),” “Crosseyed And Painless”) and more experimental fare (“Houses In Motion,” “The Overload”). While outlets ranging from Rolling Stone to Pitchfork to Slant have called Remain in Light one of the best albums of the 1980s, it has a thrilling sense of discovery that remains of-the-moment.

Talking Heads

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