History Music / RemainInLight

''Remain in Light'', released in 1980 through Creator/SireRecords, is the fourth album from Music/TalkingHeads. It was their third and final album to be produced by Music/BrianEno, after ''Music/MoreSongsAboutBuildingsAndFood'' and ''Music/FearOfMusic''. Eno split with the group as a result of the album's TroubledProduction and disagreements with frontman Music/DavidByrne about their solo project ''Music/MyLifeInTheBushOfGhosts'' (which was produced earlier but released a year later).

Born out of a desire to challenge Talking Heads' image as a vehicle for Music/DavidByrne, the album marked [[NewSoundAlbum a radical departure]] from the band's previous albums, combining the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. The choice in sound primarily came from bassist Tina Weymouth and drummer/husband Chris Franz, who were growing irritated with Byrne's control of the band yet couldn't agree on what to do about it. Traveling to the Caribbean to think the matter over, they grew interested in the {{reggae}} scene there and came up with the idea of producing more collaborative music (after three albums near-unilaterally written by Byrne) rooted in Black musical styles not covered by mainstream rock. At the same time, the mainstream rise of HipHop made the band members realize that the landscape of popular music was about to change dramatically, encouraging them to adapt sooner than later through this internationally-inspired approach.

* DistinctDoubleAlbum: A single-album variant. Side one features more rhythmically-focused songs with dense, compartmentalized structures that gradually overlap one another and long instrumental interludes, while side two features more introspective and lyrically-focused songs.

[[caption-width-right:350:''And you may ask yourself\\

''Remain in Light'', released in 1980 through Creator/SireRecords, is the fourth album from Music/TalkingHeads. Its their third and final album to be produced by Music/BrianEno, after ''Music/MoreSongsAboutBuildingsAndFood'' and ''Music/FearOfMusic''. Eno split with the group as a result of the album's TroubledProduction and disagreements with frontman Music/DavidByrne about their solo project ''Music/MyLifeInTheBushOfGhosts'' (which was produced earlier but released a year later).

Born out of a desire to challenge Talking Heads' image as a vehicle for Music/DavidByrne, the album marked [[NewSoundAlbum a radical departure]] from Talking Heads' previous albums, combining the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. The choice in sound primarily came from bassist Tina Weymouth and drummer/husband Chris Franz, who were growing irritated with Byrne's control of the band yet couldn't agree on what to do about it. Traveling to the Caribbean to think the matter over, they grew interested in the {{reggae}} scene there and came up with the idea of producing more collaborative music (after three albums near-unilaterally written by Byrne) rooted in Black musical styles not covered by mainstream rock. At the same time, the mainstream rise of HipHop made the band members realize that the landscape of popular music was about to change dramatically, encouraging them to adapt sooner than later through this internationally-inspired approach.

To consolidate their shift in style, the band brought aboard a large number of session musicians experienced in {{funk}}, Afrobeat's mother genre, and/or AvantGardeMusic, with the latter category including guitarist and future Music/KingCrimson frontman Adrian Belew (previously known for his work with Music/FrankZappa and Music/DavidBowie) and trumpeter Jon Hassell. The album's material was recorded through improvisational jam sessions, emphasizing serendipitous songwriting that built off of mistakes following a comment from personal friend David Gans that "the things one doesn't intend are the seeds for a more interesting future." This approach extended to Byrne's lyrics as well, developing vocal melodies through scatting before constructing stream-of-consciousness lyrics based on both his own struggles with writer's block at the time and Eno's belief that lyrics were not as important to a song's meaning as laypeople like to believe (which had previously informed the found audio vocals on ''My Life in the Bush of Ghosts'').

Along with Music/PeterGabriel's ''Music/{{Melt}}'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music -- especially NewWaveMusic -- which became looser and more open to African and other "ethnic" influences. This would most prominently manifest throughout the decade in the form of worldbeat, which mixed rock with musical styles from Sub-Saharan Africa; Talking Heads would carry over the style to their next album, ''Music/SpeakingInTongues'', before veering away from it on ''Music/LittleCreatures'' and ''Music/TrueStories'' in favor of exploring music from the southern United States. They would ultimately return to a worldbeat sound on ''Music/{{Naked}}'', which built off the Tejano influences on ''True Stories'' to create a blend of AlternativeRock, Afrobeat, and Latin American music, a mix that would inform much of Byrne's solo career after the band's 1991 breakup.

''Remain in Light'', released in 1980, is the fourth album from Music/TalkingHeads. Its their third and final album to be produced by Music/BrianEno, after ''Music/MoreSongsAboutBuildingsAndFood'' and ''Music/FearOfMusic''. Eno split with the group as a result of the album's TroubledProduction and disagreements with frontman Music/DavidByrne about their solo project ''Music/MyLifeInTheBushOfGhosts'' (which was produced earlier but released a year later).

* CoverVersion:
** Music/{{Phish}} has covered the album in concert.
** Angélique Kidjo released a cover of the entire album in 2018 that more prominently emphasized the songs' African influences; according to her, the idea to do so was born out of her own immediate recognition of the songs as afrobeat back when the Talking Heads version was first released and her feelings of encouragement by the band's homage to the genre.
** Music/PeterGabriel covered "Listening Wind" for his ''Scratch My Back'' album (Byrne returned the favor with a cover of [[Music/{{Melt}} "I Don't Remember"]] on ''And I'll Scratch Yours'').
** A Certain Ratio covered "Houses in Motion".

* DownerEnding: The album closes with "The Overload", a haunting, brooding Music/JoyDivision pastiche about mental collapse.

* {{Humanshifting}}: "Seen and Not Seen" is a quirky, somewhat paranoid take on the subject.

* DesignStudentsOrgasm: The cover with the band members' faces covered in splotches of digital ink was an early example of digital photo manipulation, produced with the aid of Walter Bender and the [=ArcMac=] team (now the MIT Media Lab) at the Massachusetts Institute of Technology. While it can look crude to modern eyes, the crudeness nonetheless adds to its unsettling tone and eye-catching visuals. Bender also superimposed the images of the planes over a solarized picture of the Himalayas for the back cover.

To consolidate their shift in style, the band brought aboard a large number of session musicians experienced in {{funk}}, Afrobeat's mother genre, and/or AvantGardeMusic, with the latter category including guitarist and future Music/KingCrimson frontman Adrian Belew (previously known for his work with Music/FrankZappa and Music/DavidBowie) and trumpeter Jon Haskell. The album's material was recorded through improvisational jam sessions, emphasizing serendipitous songwriting that built off of mistakes following a comment from personal friend David Gans that "the things one doesn't intend are the seeds for a more interesting future." This approach extended to Byrne's lyrics as well, developing vocal melodies through scatting before constructing stream-of-consciousness lyrics based on both his own struggles with writer's block at the time and Eno's belief that lyrics were not as important to a song's meaning as laypeople like to believe (which had previously informed the found audio vocals on ''My Life in the Bush of Ghosts'').

[[caption-width-right:350:''"And you may ask yourself\\

[[caption-width-right:350:''"And you may ask yourself, 'Well, how did I get here?'"'']]

To consolidate their shift in style, the band brought aboard a large number of session musicians experienced in {{funk}}, Afrobeat's mother genre, and/or AvantGardeMusic, with the latter category including guitarist and future Music/KingCrimson frontman Adrian Belew (previously known for his work with Music/FrankZappa and Music/DavidBowie) and trumpeter John Haskell. The album's material was recorded through improvisational jam sessions, emphasizing serendipitous songwriting that built off of mistakes following a comment from personal friend David Gans that "the things one doesn't intend are the seeds for a more interesting future." This approach extended to Byrne's lyrics as well, developing vocal melodies through scatting before constructing stream-of-consciousness lyrics based on both his own struggles with writer's block at the time and Eno's belief that lyrics were not as important to a song's meaning as laypeople like to believe (which had previously informed the found audio vocals on ''My Life in the Bush of Ghosts'').

* ShoutOutToShakespeare: The line, "A condition of mercy," in "The Overload" echoes the phrase, "the quality of mercy," from ''Theatre/TheMerchantOfVenice''.

Born out of a desire to challenge Talking Heads' image as a vehicle for Music/DavidByrne, the album marked [[NewSoundAlbum a radical departure]] from Talking Heads' previous albums, combining the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. The choice in sound primarily came from bassist Tina Weymouth and drummer/husband Chris Franz, who were growing irritated with Byrne's control of the band yet couldn't agree what to do about it; traveling to the Caribbean to think the matter over, they grew interested in the {{reggae}} scene there and came up with the idea of producing more collaborative music (after three albums near-unilaterally written by Byrne) rooted in Black musical styles not covered by mainstream rock. At the same time, the mainstream rise of HipHop made the band members realize that the landscape of popular music was about to change dramatically, encouraging them to adapt sooner than later through this internationally-inspired approach.

To consolidate their shift in style, the band brought aboard a large number of session musicians experienced in {{funk}}, Afrobeat's mother genre, as well as white musicians such as guitarist Adrian Belew (previously known for his work with Music/FrankZappa and Music/DavidBowie) and trumpeter John Haskell who were well-versed in AvantGardeMusic. The album's material was recorded through improvisational jam sessions, emphasizing serendipitous songwriting that built off of mistakes following a comment from personal friend David Gans that "the things one doesn't intend are the seeds for a more interesting future." This approach extended to Byrne's lyrics as well, developing vocal melodies through scatting before constructing stream-of-consciousness lyrics based on both his own struggles with writer's block at the time and Eno's belief that lyrics were not as important to a song's meaning as laypeople like to believe (which had previously informed the found audio vocals on ''My Life in the Bush of Ghosts'').

** Avant-garde guitarist and Music/FrankZappa & Music/DavidBowie collaborator Adrian Belew contributed guitar parts to the album, most notably with the wailing interludes on "The Great Curve" and his signature "computer guitar" tone on "Born Under Punches".[[note]]He played a similar "computer guitar" solo on "His Wife Refused" from Byrne's solo album ''The Catherine Wheel''.[[/note]] Belew also accompanied the band during the album's associated tour and lobbied to become a permanent member of the band (at one point even being encouraged into joining by Chris Frantz and Tina Weymouth, who considered replacing David Byrne with him). Byrne turned down Belew's offers and Belew turned down Frantz & Weymouth; Belew would ultimately end up fronting the revived Music/KingCrimson from 1981 to 2008.

-->"I understand why America is not universally loved. That’s been obvious to me for years and years, but it’s not obvious to a lot of Americans. Their immediate reaction is, 'They love us, they’re just jealous. They just want UsefulNotes/McDonalds.'"

* WorldMusic: This album and Music/PeterGabriel's ''Music/{{Melt}}'', also released in 1980, are generally considered the point where world music influence began to permeate mainstream rock music. This trend would arguably reach its peak in 1986, with the release of Gabriel's ''Music/{{So}}'' and Music/PaulSimon's ''Music/{{Graceland}}''. Music/DavidByrne himself would explore the genre more in his solo career and his collaborations with Music/BrianEno, such as ''My Life in the Bush of Ghosts''.

''Remain in Light'', released in 1980, is the fourth album from Music/TalkingHeads. Its their third and final album to be produced by Music/BrianEno, after ''Music/MoreSongsAboutBuildingsAndFood'' and ''Music/FearOfMusic''. Eno split with the group as a result of the album's TroubledProduction and disagreements with frontman Music/DavidByrne about their solo project ''Music/MyLifeInTheBushOfGhosts''.

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. Along with Music/PeterGabriel's ''Music/{{Melt}}'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences.

** European [=CDs=] vary based on when they came out; releases in the format before the mid-'90s master side one much louder than side two, while [=CDs=] since the mid-'90s use a new mastering of the album that inexplicably swaps the stereo channels and cuts off high frequencies.

** European [=CDs=] are an interesting case; before the mid-'90s, releases in the format master side one much louder than side two, while [=CDs=] since the mid-'90s use a new mastering of the album that inexplicably swaps the stereo channels and cuts off high frequencies.

* NothingButSkinAndBones: "I'm so thin... I'm too thin," from "Born Under Punches (The Heat Goes On)"

* DigitalDestruction: The original CD booklet was missing the red outline of the planes on the back cover from the LP inner sleeve in the stylized album credits as well as the negative version of the front cover.
* [[DistinctDoubleAlbum Distinct Single Album]]: Side one features more rhythmically-focused songs with dense, compartmentalized structures that gradually overlap one another and long instrumental interludes, while side two features more introspective and lyrically-focused songs.

->"''Remain in Light'' really knocked me out with all the cross-rhythms. The bass never seems to come in where you'd expect it. [...] You could always tell with this band that they weren't writing to be commercial-- they were just doing the music that they really felt. There was something incredibly spontaneous about them."

* ShoutOutToShakespeare: The line, "A condition of mercy" in "The Overload" echoes the phrase, "the quality of mercy" from ''Theatre/TheMerchantOfVenice''.

** The repeating synth riff in "Once in a Lifetime" is reminiscent of Music/PhilipGlass. The Hammond organ part in the climax is based on [[Music/TheVelvetUnderground "What Goes On"]] by the Music/VelvetUnderground.

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. Along with Music/PeterGabriel's ''{{Melt}}'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences.

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. Along with ''Music/PeterGabriel1980'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences.

** Music/PeterGabriel covered "Listening Wind" for his ''Scratch My Back'' album (Byrne returned the favor with a cover of [[Music/PeterGabriel1980 "I Don't Remember"]] on ''And I'll Scratch Yours'').

* WorldMusic: This album and ''Music/PeterGabriel1980'' are generally considered the point where world music influence began to permeate mainstream rock music. This trend would arguably reach its peak in 1986, with the release of Gabriel's ''Music/{{So}}'' and Music/PaulSimon's ''Music/{{Graceland}}''. Music/DavidByrne himself would explore the genre more in his solo career and his collaborations with Music/BrianEno, such as ''My Life in the Bush of Ghosts''.

* VillainProtagonist: "Listening Wind" is about a terrorist who wants to drive Americans out of his unnamed country, although he's portrayed in a somewhat sympathetic light. So, basically an anti-villain protagonist, or maybe even an antihero protagonist depending on one's political sympathies. Worth noting is that Byrne originally envisioned listeners sympathizing with the terrorist, being written out of disdain towards western misconceptions of the postcolonial world.

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. Along with Music/PeterGabriel's ''Music/{{Melt}}'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences post-''Remain in Light'' & ''Melt''.

** Music/PeterGabriel covered "Listening Wind" for his ''Scratch My Back'' album (Byrne returned the favor with a cover of [[Music/{{Melt}} "I Don't Remember"]] on ''And I'll Scratch Yours'').

* WorldMusic: This album and Music/PeterGabriel's ''Music/{{Melt}}'', both released in 1980, are generally considered the point where world music influence began to permeate mainstream rock music. This trend would arguably reach its peak in 1986, with the release of Gabriel's ''Music/{{So}}'' and Music/PaulSimon's ''Music/{{Graceland}}''. Music/DavidByrne himself would explore the genre more in his solo career and his collaborations with Music/BrianEno, such as ''My Life in the Bush of Ghosts''.

->"''Remain in Light'' really knocked me out with all the cross-rhythms. The bass never seems to come in where you'd expect it. [...] You could always tell with this band that they weren't writing to be commercial - they were just doing the music that they really felt. There was something incredibly spontaneous about them."

''Remain in Light'' was supported by four singles: "Crosseyed and Painless", "Once in a Lifetime", "Houses in Motion", and "Born Under Punches (The Heat Goes On)".

# "Once in a Lifetime" (4:19)

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. This [[GenreMashup effective combination of widely disparate sounds]] garnered downright ''rapturous'' critical acclaim for Talking Heads, who had already been critical darlings before that point. Along with Music/PeterGabriel's ''Music/{{Melt}}'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences post-''Remain in Light'' & ''Melt''. While ''Melt'' was the album that first established the idea that this kind of combination was just as artistically capable as prior western music, ''Remain in Light'' was the album that galvanized it, bringing worldbeat into even greater prominence and strengthening the backbone that allowed it to become a dominant force in mainstream music for the first half of the 80's.

While it wasn't as successful as the band's earlier and later albums, it is generally considered their studio masterpiece[[note]]some fans and critics rank the band's ''live'' albums ''Film/StopMakingSense'' and ''The Name of This Band Is Talking Heads'' even more highly[[/note]] and one of the greatest albums of the 1980's-- if not all time; the album was listed at #129 in ''Magazine/RollingStone''[='=]s [[Music/RollingStone500GreatestAlbumsOfAllTime 500 Greatest Albums of All Time]] (which jumped to #39 in the [[UsefulNotes/RollingStone500GreatestAlbumsOfAllTime2020 2020 update]]), at #54 on ''Magazine/{{NME}}''[='=]s [[UsefulNotes/NME500GreatestAlbumsOfAllTime list of the same name]], and is currently the 34th-most-acclaimed album ever according to Website/AcclaimedMusic's [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums compilation of various critics' lists]]. In 2017 the album was inducted into the UsefulNotes/NationalRecordingRegistry for being "culturally, historically, or artistically significant." The album was also certified gold (sales of over 500,000 copies) by the RIAA. Even only a few years after its release, ''Remain in Light'' was so critically acclaimed that [[https://forums.stevehoffman.tv/threads/the-history-of-compact-disc-thread-information-wanted.85625/page-15#post-3228479 it was among the first titles available in the U.S. on CD]] when the format was launched there in 1983.

''Remain in Light'' produced a single, "Once in a Lifetime", that didn't set the world on fire. Within a couple years, however, it had become one of the band's {{signature song}}s, due in part to its SurrealMusicVideo, which got heavy rotation on the fledgling network Creator/{{MTV}}. The album was also supported by single releases of "Crosseyed and Painless" (released only in Germany and Mexico), "Houses in Motion", and "Born Under Punches (The Heat Goes On)" (released only in Japan).

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. This [[GenreMashup effective combination of widely disparate sounds]] garnered downright ''rapturous'' critical acclaim for Talking Heads, who had already been critical darlings before that point. Along with Music/PeterGabriel's ''[[Music/PeterGabriel1980 Melt]]'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences post-''Remain in Light'' & ''Melt''. While ''Melt'' was the album that first established the idea that this kind of combination was just as artistically capable as prior western music, ''Remain in Light'' was the album that galvanized it, bringing worldbeat into even greater prominence and strengthening the backbone that allowed it to become a dominant force in mainstream music for the first half of the 80's.

** Music/PeterGabriel covered "Listening Wind" for his ''Scratch My Back'' album (Byrne returned the favor with a cover of [[Music/PeterGabriel1980 "I Don't Remember"]] on ''And I'll Scratch Yours'').

* WorldMusic: This album and Music/PeterGabriel's ''[[Music/PeterGabriel1980 Melt]]'', both released in 1980, are generally considered the point where world music influence began to permeate mainstream rock music. This trend would arguably reach its peak in 1986, with the release of Gabriel's ''Music/{{So}}'' and Music/PaulSimon's ''Music/{{Graceland}}''. Music/DavidByrne himself would explore the genre more in his solo career and his collaborations with Music/BrianEno, such as ''My Life in the Bush of Ghosts''.

[[NewSoundAlbum A radical departure]] from Talking Heads' previous albums, ''Remain in Light'' combined the band's signature PostPunk and NewWaveMusic riffs with dense polyrhythms inspired by Nigerian {{Afrobeat}} artist Music/FelaKuti. This [[GenreMashup effective combination of widely disparate sounds]] garnered downright ''rapturous'' critical acclaim for Talking Heads, who had already been critical darlings before that point. Along with Music/PeterGabriel's ''Music/{{Melt}}'', released earlier that same year, ''Remain in Light'' [[GenreTurningPoint marked a change in direction]] for popular music-- especially NewWaveMusic-- which became looser and more open to African and other "ethnic" influences post-''Remain in Light'' & ''Melt''. While ''Melt'' was the album that first established the idea that this kind of combination was just as artistically capable as prior western music, ''Remain in Light'' was the album that galvanized it, bringing worldbeat into even greater prominence and strengthening the backbone that allowed it to become a dominant force in mainstream music for the first half of the 80's.

** "Crosseyed and Painless" is also subject to this: Byrne's rap bridge is drawn out for much longer in the music video, continuing through the outro and featuring extra lyrics not present in the album version; these extra lyrics were also featured in live performances during the album's tour.

** Music/PeterGabriel covered "Listening Wind" for his ''Scratch My Back'' album (Byrne returned the favor with a cover of [[Music/{{Melt}} "I Don't Remember"]] on ''And I'll Scratch Yours'').

* GuestStar:
** Robert Palmer contributed percussion to the sessions, returning the favor for Chris Frantz playing drums on his album ''Clues''.
** Avant-garde trumpeter and Eno collaborator Jon Hassell played his trademark electronic-infused trumpet on "Houses in Motion".
** Avant-garde guitarist and Music/FrankZappa & Music/DavidBowie collaborator Adrian Belew contributed guitar parts to the album, most notably with the wailing interludes on "The Great Curve" and his signature "computer guitar" tone on "Born Under Punches".[[note]]He played a similar "computer guitar" solo on "His Wife Refused" from Byrne's solo album ''The Catherine Wheel''.[[/note]] Belew also accompanied the band during the album's associated tour and lobbied to become a permanent member of the band (at one point even being encouraged into joining by Chris Frantz and Tina Weymouth, who considered replacing David Byrne with him). Byrne turned down Belew's offers and Belew turned down Frantz & Weymouth; Belew would ultimately end up fronting the revived Music/KingCrimson from 1981 to 2008.

** The outtake "Fela's Riff" is an obvious shout-out to Music/FelaKuti. The whole album was influenced by his sound.

* WorldMusic: This album and Music/PeterGabriel's ''Music/{{Melt}}'', both released in 1980, are generally considered the point where world music influence began to permeate mainstream rock music. This trend would arguably reach its peak in 1986, with the release of Gabriel's ''Music/{{So}}'' and Music/PaulSimon's ''Music/{{Graceland}}''. Music/DavidByrne himself would explore the genre more in his solo career and his collaborations with Music/BrianEno, such as ''My Life in the Bush of Ghosts''.