Talking Heads ‎– Remain In Light

Etichetta:
Sire ‎– SRK 6095
Formato:
Vinyl, LP, Album, Winchester Pressing
Paese:
Uscita:
Genere:
Stile:

Elenco tracce Nascondi Accrediti

A1 Born Under Punches (The Heat Goes On) 5:46
A2 Crosseyed And Painless 4:45
A3 The Great Curve 6:26
B1 Once In A Lifetime 4:19
B2 Houses In Motion
Trumpet, Arranged By [Horns] – Jon Hassell
4:30
B3 Seen And Not Seen 3:20
B4 Listening Wind 4:42
B5 The Overload 6:00

Società, ecc.

Accrediti

Note

Colour designed inner sleeve with credits for each track, also includes black & white lyrics sheet.

[On rear sleeve:]
Sire Records Company, 165 West 74th Street, BNew York, New York 10023, marketed by Warner Bros. Records Inc., a Warner Communications Company [Warner logo] Made in U.S.A.
© 1982 Sire Records Company

[On inner sleeve:]
Basic tracks recorded at Compass Point Studios Nassau, The Bahamas. Vocals & additional tracks recorded at Sigma Sound, New York City
Mixed [...] at Sigma Sound, New York City and Eldorado Studios, Los Angeles.
Mastered [...] at Sterling Sound.
℗ 1980 Sire Records Company. Printed in USA

[On lyrics sheet:]
© 1980 Index Music/Bleu Disque Music Co., Inc.‒ ASCAP. E.G. Music Ltd.‒ BMI.
Printed in USA.

[On labels:]
All Selections Published By Index Music / Bleu Disque Music Co., Inc.-ASCAP/E.G. Music, Ltd.-BMI
℗ 1980 Sire Records Company

[On label rim:]
Sire Records, Inc. Marketed by Warner Bros. Records Inc. Made in U.S.A.

Capitol Records Pressing Plant, Winchester pressing denoted by "WW" and -------◁ etches in runouts.

Codice a barre e altri identificatori

  • Matrix / Runout (Runout, side A etched [Var. 1]): SRK.1.6095-WW1
  • Matrix / Runout (Runout, side B etched [Var. 1]): SRK.2.6095-WW1
  • Matrix / Runout (Runout, side A etched [Var. 2]): SRK•1•6095-WW1 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 2]): SRK•2•6095-WW1 #2 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 3]): SRK.1.6095-WW1 #3
  • Matrix / Runout (Runout, side B etched [Var. 3]): SRK.2.6095-WW1
  • Matrix / Runout (Runout, side A etched [Var. 4]): SRK•1•6095-WW1 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 4]): SRK•2•6095-WW1 #5 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 5]): SRK•2•6095-WW1 #8 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 5]): SRK•2•6095-WW2 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 6]): SRK•1•6095-WW1 #4 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 6]): SRK•2•6095-WW1 #2 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 7]): SRK•1•6095-WW1 #7 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 7]): SRK•2•6095-WW1 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 8]): SRK•1•6095-WW1 #2 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 8]): SRK•2•6095-WW1 #2 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 9]): SRK•1•6095-WW1 #6 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 9]): SRK•2•6095-WW1 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 10]): SRK•1•6095-WW1 #5 ━◁
  • Matrix / Runout (Runout, side B etched [Var. 10]): SRK•2•6095-WW1 #3 ━◁
  • Matrix / Runout (Runout, side A etched [Var. 11]): SRK.1.6095-WW1#2 · ━◁
  • Matrix / Runout (Runout, side B etched [Var. 11]): SRK.2.6095-WW1 · ━◁
  • Matrix / Runout (Runout both sides, stamped, all variations): STERLING
  • Barcode (Text): 0 7599-26095-1
  • Rights Society: ASCAP
  • Rights Society: BMI

Altre versioni (5 di 146) Visualizza tutto

N. cat Artista Titolo (Formato) Etichetta N. cat Paese Anno
56867 Talking Heads Remain In Light(LP, Album, RE) Sire 56867 Italy Unknown Vendi questa versione
R1 70802 Talking Heads Remain In Light(LP, Album, RE, 180) Sire, Rhino Vinyl R1 70802 US 2006 Vendi questa versione
SIR K 56 867, SRK 6095, SIR 56 867 Talking Heads Remain In Light(LP, Album, RE) Sire, Sire, Sire SIR K 56 867, SRK 6095, SIR 56 867 Europe Unknown Vendi questa versione
SIR K 56 867, SRK. 6095, WB 56 867 Talking Heads Remain In Light(LP, Album, RE) Sire, Sire, Sire SIR K 56 867, SRK. 6095, WB 56 867 UK Unknown Vendi questa versione
WBN 56 867 Talking Heads Remain In Light(LP, Album, RE) Sire WBN 56 867 Germany Unknown Vendi questa versione

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Recensioni Mostra tutte le 25 recensioni

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greenbrown

greenbrown

26 agosto 2020

This is one of the best sounding records I own period
element-apart

element-apart

19 novembre 2019
When it comes to experimentation in music, artists consider the very motion of experimenting as the actual product. Brian Eno's philosophy is different. He is a man who experimented and then, the result is this. His approach is almost non-artistic--idolizing theory, more about straight neon lines rather than expressive curves which would seem more adequate. This created a sound so modern that it seems alien. Arguably the best engineered record ever and with the most beautiful title I have ever read, "Remain in Light" encourages us to stay aware and serves as a multi-layered insane guide to traversing the sharp edges of the modern world. Remain astute in our convictions, embrace logic and keep our minds crisp, don't lose yourselves! "Once in a Lifetime" deals with finding the social goal and realizing that no time is left for us to actually enjoy it. David Byrne yells: "Don't you miss it, don't you miss it / Some 'a you people just about missed it / Last time to make plans". If you don't know what he's on about, then you've probably missed it as well.
streetmouse

streetmouse

8 settembre 2019

Talking heads rose during the punk movement, though they were lightyears from punk, quickly showing the world that art and music, along with the music’s presentation could be seamlessly merged with art. To that end and in keeping with the ideas surrounding the Beatles’ Sgt. Pepper, Talking Heads morphed into a nearly artificial band, with the presentation of their music riding on equal footing with that music. Byrne’s approach to the sound of the band seemed to suggest that he was on a path to making the songs and the performances as unnatural as they could possibly be, nearly Dadaist in their being, where his vocals were infused with cracks and modulations that stood in juxtaposition to the melody. While on stage he presented a sense of nervousness and befuddlement, all of which seemed to be making fun of actual songs and actual dancing … where his consistent fakery became the norm, not seen as a manufactured persona, but as who he was. To this idea Tina Weymouth said, “There’s something essential about losing control over what you do.”

What was new on the album was the band’s move from punk into funk, though I’ve always suggested that T-Heads were never punk to begin with, and nothing from this point in time would ever be the same again. The record is filled with stark guitar noise, African sounding rhythms and an almost religious ensemble of vocals that coexist within the construct, where everything that gets thrown into the pot builds on each individual aspect, each aspect pointing both backwards and forwards within the same revolutionary breath. At times the album nearly becomes some sort of new freeform jazz hybrid, snaking its way, nearly sexually, as a listening experience that’s heavy, feather light, haunting, beautiful and entirely enigmatic when one seeks to understand a line such as “The world moves on a woman’s hips.” That said, Tina again suggests that, you can follow, to some extent the story lines of, say, “Listening Wind,”in which an Indian stores up weaponry to launch an assault on plundering Americans, while the spoken fable of “Seen and Not Seen,” suggests that Remain in Light’s lyrics are more frequently utilized to describe or embody abstract concepts. Thus, beneath the wild dance patterns of “Crosseyed and Painless,” lurks a dementedly sober disquisition on the nature of facts that culminates in a hilarious, rapidly recited list of characteristics, “Facts are simple and facts are straight, Facts are lazy and facts are late …“ that could go on forever and probably do, as the song fades out before David can finish reading what’s on the lyric sheet. Elsewhere, strings of words convey meaning only through Byrne’s intonation and emphasis, dished out with his throaty conspiratorial murmur in a number such as “Houses in Motion,” adding implications nearly impossible to extract from lines as obscure as “I’m walking a line, I’m thinking about empty motion.”

Remain In Light cast a long and enduring shadow, one that was instantly felt, reacted to and enhanced by other bands, and is still influencing today. This is an essential album in every aspect, its art, fashion, music and production all tumble together in a manner nothing short of jaw dropping. At the heart of its being, the record was equally intellectual and dancehall wasted, a firmly rooted sonic adventure that change the musical nature of the world.

*** The Fun Facts: The album jacket for Remain In Light is as interesting as the record itself, with the creation of the cover inspired by Talking Heads’ Tina Weymouth and Chris Frantz, along with Walter Bender, a researcher at the Massachusetts Institute of Technology, with the album art being touted as the first computer generated album cover. It’s important to remember that during the 1980’s computers were enormous, slow, and a relatively new technology. It took the design department of one of the most prestigious universities in the world to create the Remain in Light cover. Actual MIT computers were used to transpose the red masks over each of the band member’s faces. However, the cover you know and love, was originally planned as the back cover, meaning that we consider the back cover of the album was originally going to be the front.

Weymouth and Frantz came up with the idea of the fighter planes to honor Weymouth’s father who was in the Navy. Rendering the planes red took MIT’s enormous computer power, with the help of Scott Fisher, an MIT computer guru. In keeping with Weymouth’s desire for a simple bold font, graphic designer Tibor Kalman arranged the band’s name ‘Talking Heads’ with no space and in Sans Serif font. Kalman followed directions, but insisted on inverting the A’s.

Review by Jenell Kesler
pyenapple

pyenapple

19 aprile 2019
This is indisputably a fine album. But either David Byrne is lying when he says he hadn't heard Joy Division before this, or he has memory loss. There's no way that "The Overload" isn't a reaction to hearing the music of Joy Division. And there are a few other spots on the album where Byrne does something with a vocal line or rhythm that is clearly an echo of Ian Curtis. Perhaps they heard Joy Division at a party and weren't aware that that was what they were listening to. But I call BS on the all claims to not be influenced by Joy Division, whether it was done in full knowledge or not.
rwmaxwell1973

rwmaxwell1973

1 aprile 2019

Very fine album. The Winchester pressing is the one to get and very affordable. Yes. Fela, Fela, distopian nightmare, future mash-ups of bush people foretold, but Adrian Belew is really the special ingredient here. Among all of the crazy rhythms, he still finds time to shred your face off.
mikkris

mikkris

2 giugno 2018
Got a variant of this, US pressing, SRK 6095, WW in matrix. But no rim text on labels. Not on Discogs at this time.
Gallen570

Gallen570

24 gennaio 2018
Can anyone shed some light on my copy? It appears to be a Sterling pressing (with slight variant), but my cover has the "Promotional Copy Not For Sale" on the bottom right corner of the cover.
ecksmega

ecksmega

18 marzo 2016

It isn't mentioned in the listing, but this LP was one of the first American rock/art-punk albums to feature heavy Afrobeat style influence. We can all thank Brian Eno, and his admiration of Fela Kuti, for that.
studyplenty

studyplenty

17 luglio 2015
Why is the band name made into one word here? Because there's no space on the cover? Puhhh-lease.
calebcop

calebcop

30 marzo 2015
Love this album, but lately I'm honestly debating whether or not I may like More Songs About Buildings and Food more... Hmm...