Listened Talking Heads: Remain in Light from Pitchfork

The album presents such a strange artistic vision, foreign to what came before but operating as though it were the culmination of a long tradition, that it seems to declare the power of weirdness itself. To be not just strange but singular, to reinvent a form in a way that you can dance to, to smuggle beer into the museum: This is the visceral thrill of art. We want to deny it on theoretical grounds, but we can’t. So we must revise our theories

It can be easy to take the influence of Brian Eno on music today for granted.
Replied to 40 Years Later, Talking Heads’ Most Valuable Member Is Still Its Most Under-Recognized (PAPER)

When you listen to Talking Heads’ most iconic songs, they all have one standout element in common: Tina Weymouth’s funky, melodic bassline. Without her there would no “Psycho Killer,” no “Burning Down The House,” no “Once in a Lifetime,” β€” grooves which are immediately recognizable, ingrained in our collective memories even as the songs’ lyrics fade. It’s Weymouth’s basslines that continue to be sampled and resurfaced by everyone from Jay-Z to, most recently, Selena Gomez β€” yet her role in creating them is rarely discussed.

This makes me want to go back and listen to Talking Heads just focusing on the bass.

Via Chris Aldrich