Speaking in Tongues

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Top Pop Albums of 1984". Billboard. December 31, 1984. Archived from the original on December 31, 2012 . Retrieved May 17, 2022. Additionally, you can opt out of some of these services by visiting the Digital Advertising Alliance’s opt-out portal at: http://optout.aboutads.info/. With a heavy R&B vibe that was laced with soul overtones, the album opens with the hit single “Burning Down The House,” a visual as well as a musical manifestation, all due to the expanded lineup of session players who would eventually work their way into live shows in a very bouncy Funkadelic (ah-la Parliament) manner, which would increase the sonic nature of the entire album, filling it with unexpected grooves and a presentation that at the time was impossible to ignore.

That being said, it’s easy to hear the control Byrne was taking, secreting himself away with producer Brian Eno, to the point where the other band members felt marginalized and leading to the attributes that would become the Tom Tom Club. All and all the album is very frank in its nature, filled with an air of cool detachment, yet in the same breath, it was experimental and joyous with deeply consider lyrics, especially if one hovers over the number “This Must Be The Place,” which turns out to be perhaps one of the most pointed, if not pained visions of relationships in the modern age. This draw is conducted in a secure enivironment selecting an identifier which can not be used to access your account and the data is deleted as soon as the draw has been conducted.

In a retrospective review for AllMusic, William Ruhlmann said that the album saw the band "open up the dense textures of the music they had developed with Brian Eno", and that they were "rewarded with their most popular album yet." He felt the additional musicians made the sound "more spacious, and the music admitted aspects of gospel," particularly on "Slippery People" and "Swamp". He noted Byrne's "impressionistic, nonlinear lyrics" and lauded the return of his "charming goofiness", calling the music "unusually light and bouncy." [9]

As to the song "This Must Be The Place," the song's title was taken from the 1965 print by Roy Lichtenstein by the same name, currently housed at the Museum of Modern Art in New York. In 1989, Speaking in Tongues was ranked number 54 on Rolling Stone 's list of the 100 best albums of the 1980s. [18] In 2012, Slant Magazine listed it as the 89th best album of the 1980s. [19] Top Pop Albums of 1983". Billboard. December 31, 1983. Archived from the original on September 5, 2012 . Retrieved May 29, 2022. Gesko, Brian (18 April 2012). "The Strange, Tense Power of Talking Heads' 'Fear of Music' ". The Atlantic . Retrieved 6 January 2022.

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a b c Christgau, Robert (September 27, 1983). "Christgau's Consumer Guide". The Village Voice . Retrieved February 4, 2016. Offiziellecharts.de – Talking Heads – Speaking in Tongues" (in German). GfK Entertainment Charts. Retrieved February 1, 2022. Steels, Mark (June 23 – July 6, 1983). "Talking Heads: Speaking in Tongues". Smash Hits. Vol.5, no.13. p.13. Kot, Greg (May 6, 1990). "Talking Heads On The Record". Chicago Tribune . Retrieved November 22, 2021. British album certifications – Talking Heads – Speaking in Tongues". British Phonographic Industry. February 5, 2021 . Retrieved February 9, 2021.

Austriancharts.at – Talking Heads – Speaking in Tongues" (in German). Hung Medien. Retrieved February 1, 2022. The Fun Facts: Regarding the album title, a person who has what is known as “the gift of tongues” or the ability to speak in tongues, often unbeknownst to them and unrecognizable to others, usually occurs in the midst of religious ecstasy, trance, or delirium. Experts call this phenomenon glossolalia, a Greek compound of the words glossa, meaning “tongue” or “language,” and lalein, meaning “to talk.” For all its charms, and the big single it housed, Speaking in Tongues lies in the shadow of Remain in Light; it’s not as effortlessly cohesive, its diffused interests not as zealous and enchanting as its more focused predecessor. But Speaking in Tongues does have the distinction of ending on the Talking Heads song most likely to be on a skeptic’s wedding playlist: “This Must Be the Place,” a neurotic’s concession to love even as he frets over the transience of life, and a bittersweet pact to let someone into his fearful mind. Byrne is unusually tender; his wild thoughts flow in one direction. As he sings gently to his partner, wondering, “Did I find you, or you find me?” the beautiful messiness of existence seems to soften. Here aren’t 30 thoughts bandying for space in Byrne’s fulminating brain, only vulnerability. There aren’t three synth lines racing off a cliff, just some percussive clang and one light synth wobble. His expression of love feels even more romantic because he clearly still knows love is a distraction. It's the strangest move of all from him, and it almost makes sense.

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Swamp" appears in the movies Risky Business, The King of Comedy and The Simpsons episode 3 Scenes Plus a Tag from a Marriage. "Girlfriend Is Better" appeared in an episode of the TV series Entourage. "Slippery People" appeared in the movie American Made and the TV series The Americans. Salamon, Jeff (1995). "Talking Heads". In Weisbard, Eric; Marks, Craig (eds.). Spin Alternative Record Guide. Vintage Books. pp.394–395. ISBN 0-679-75574-8.

Notes

Finally, we may also share your Personal Information to comply with applicable laws and regulations, to respond to a subpoena, search warrant or other lawful request for information we receive, or to otherwise protect our rights. Canadian album certifications – Talking Heads – Speaking in Tongues". Music Canada. November 1, 1983. Talking Heads – Chart History: Hot 100". Billboard. Prometheus Global Media . Retrieved January 4, 2013. There’s much to say about Speaking In Tongues, an album that evolved and had been refined from the Talking Heads’ beginnings, a step away from the burned out new wave synth machine, and more toward the avant garde aspects David Byrne was so inspired by. David went on to say, “We felt it was possible to work within a kind of pop song format and kind of do what you wanted as long as you stayed within that format. And having a love of pop music, we felt that occasionally something we did kind of by accident would connect to a larger public and other things would not.”