Talking Heads fans have been waiting a long time to have the band's eight studio albums remastered and reissued, but they may find that the long-awaited revamping of the group's catalog is somewhat problematic. Instead of being released as individual titles, all eight titles were boxed and reissued as an expensive set, Talking Heads Brick (this box retails for $149.99; individual releases are tentatively scheduled to follow, three to four months after this set's October 2005 release) – and they're not issued as CDs, they're only available as DualDiscs, a format that contains a CD on one side and a DVD on the other.
Remain in Light is the fourth studio album by American new wave band Talking Heads, released on October 8, 1980, on Sire Records. It was recorded at locations in the Bahamas and the United States between July and August 1980 and was produced by the quartet's long-time collaborator Brian Eno. The album peaked at number 19 on the Billboard 200 in the US and at number 21 on the UK Albums Chart. In 1989, Rolling Stone named Remain in Light as the fourth best album of the decade. In 1993, it was included at number 11 in NME's list of The 50 Greatest Albums Of The '80s, and at number 68 in the publication's Greatest Albums Of All Time list.
Speaking in Tongues is the fifth studio album by the band Talking Heads, released in 1983. The album was a commercial breakthrough that produced the band's first (and only) American Top 10 hit, "Burning Down the House", which was accompanied by a promotional video.
Talking Heads' last proper studio album before their protracted breakup finds them returning to the dynamic that produced their best work, with inspired results. As swan songs go, Naked proves to be a pretty good one: Alternately serious and playful, it once again allows frontman David Byrne to worry about the government, the environment, and the plight of the working man as it frees up the rest of the band to trade instruments and work with guest musicians. It's closest in spirit to Remain in Light – arguably too close: The first side is a collection of funky, syncopated, almost danceable tunes; the second, a murky, darkly philosophical rumination on identity and human nature. The major difference is a Latin influence replacing Light's African rhythm experimentation, most evident on the album openers "Blind" and "Mr. Jones," as well as in drummer Chris Frantz's decision to use brushes and softer percussion instruments (as opposed the big beat sound he offered up on Little Creatures and True Stories).