Talking heads torrent discography
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Ryuichi Sakamoto playing a Fairlight CMI Series III sampling synthesiser and a Yamaha DX7 keyboard. The Oscar-winning soundtrack to Bertolucci’s film is divided down the middle: Ryuichi Sakamoto’s score melds romantic strings with Chinese instrumentation, but Byrne’s consists of a variant on what Can would have dubbed ethnological forgeries: his own interpretation of Chinese classical music, played largely on traditional instruments. 15 David Byrne/Ryuichi Sakamoto/Cong Su – The Last Emperor (1987) Not everything on Look Into the Eyeball’s eclectic menu is fantastic, but it is substantially more fun than its predecessor, Feelings, on which Byrne dabbled awkwardly with drum’n’bass and trip-hop: indeed, on its two collaborations with legendary soul producer Thom Bell, it has a genuinely infectious euphoria about it, suggestive of an artist once more finding his groove. 16 David Byrne – Look Into the Eyeball (2001) There is no doubt a 90-minute concept album about Imelda Marcos featuring guest appearances from Florence Welch, Sia and Cyndi Lauper is a tough sell, but Here Lies Love is surprisingly great: the songs are sparky – as dance producers go, Fatboy Slim has always been big on pop hooks – the story is legible and Róisín Murphy’s turn on the disco-infused Don’t You Agree? is a delight. Photograph: Xander Deccio/imageSPACE/SilverHub/Rex/Shutterstock 17 David Byrne and Fatboy Slim – Here Lies Love (2010) Byrne performs at the Sasquatch festival, May 2018. As it lurches from great to grating – on I Dance Like This, this happens in the space of one song – you could never accuse Byrne of resting on his laurels. 18 David Byrne – American Utopia (2018)Ī collaboration with Brian Eno that also enlisted Sampha and Oneohtrix Point Never, American Utopia attempts to salvage something positive from Trump’s first year in power, a risky undertaking that perhaps inevitably misses as often as it hits. And yet it is still sprinkled sparingly with magic, not least the wistful Dream Operator. The weakest Talking Heads album, it feels simultaneously laboured and undercooked: the sound is leaden Puzzlin’ Evidence and Papa Legba amount to padding. The soundtrack to Byrne’s directorial debut was made as the band was falling apart and it is tempting to say you can tell. It is far better than its commercial failure suggests – Hanging Upside Down should have been a hit – but also serves to make the listener miss Talking Heads, which presumably couldn’t have been further from Byrne’s aim. The most Talking-Heads-esque of Byrne’s solo albums, albeit with a Latin-American influence, Uh-Oh vanished unheralded at the height of grunge.