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Once in a Lifetime

To fully appreciate the radical and revolutionary transformation to their music making process which Talking Heads – guided by Eno – instituted with Remain in Light, it’s worth referring to Right Start, an early sketch of what would become Once in a Lifetime. A potent but scrappy instrumental, it bares only passing resemblance to probably Talking Heads’ most iconic song. Like all of the backing tracks hastily recorded at Compass Point Studios, Nassau, in a seemingly random discontinuous process in the summer of 1980, these base elements were laid down effectively blind by the band to Eno’s direction. Eno and Byrne subsequently rearranged the constituent parts into glorious new shapes through a process of fading in and out contrasting but complimentary rhythmic and melodic phrases over one another in different combinations, in what was effectively a crude exercise in sampling and looping. Between Weymouth’s spacious yet forceful bassline, Eno’s gurgling synth drones and Harrison’s climactic organ flourish, all pieced together puzzle-like in unusual and disorientating rhythmic intervals, Once in a Lifetime is a thing of dizzying power, beauty and mystery. Over it all lies Byrne’s head-scratching half-spoken half-sung vocal about living in a beautiful house with a beautiful wife, days going by and water flowing underground, written ad-hoc to Eno’s placeholder mumblings and inspired by the call-and-response style rantings of American radio evangelists. You can read Once in a Lifetime as an art-pop rumination on the existential ticking time bomb of unchecked consumerism and advancing age. Or simply as a fierce groove with a clutch of nonsense lyrics dashed on the top. Either way, it sounds like nothing else in the history of pop.

cijeli tekst

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(Nothing But) Flowers (1988)

 

Volim Talking Heads. Ovu posebno:

po meni možda i najbolja pjesma ikada... ikoga. 

Once in a Lifetime

To fully appreciate the radical and revolutionary transformation to their music making process which Talking Heads – guided by Eno – instituted with Remain in Light, it’s worth referring to Right Start, an early sketch of what would become Once in a Lifetime. A potent but scrappy instrumental, it bares only passing resemblance to probably Talking Heads’ most iconic song. Like all of the backing tracks hastily recorded at Compass Point Studios, Nassau, in a seemingly random discontinuous process in the summer of 1980, these base elements were laid down effectively blind by the band to Eno’s direction. Eno and Byrne subsequently rearranged the constituent parts into glorious new shapes through a process of fading in and out contrasting but complimentary rhythmic and melodic phrases over one another in different combinations, in what was effectively a crude exercise in sampling and looping. Between Weymouth’s spacious yet forceful bassline, Eno’s gurgling synth drones and Harrison’s climactic organ flourish, all pieced together puzzle-like in unusual and disorientating rhythmic intervals, Once in a Lifetime is a thing of dizzying power, beauty and mystery. Over it all lies Byrne’s head-scratching half-spoken half-sung vocal about living in a beautiful house with a beautiful wife, days going by and water flowing underground, written ad-hoc to Eno’s placeholder mumblings and inspired by the call-and-response style rantings of American radio evangelists. You can read Once in a Lifetime as an art-pop rumination on the existential ticking time bomb of unchecked consumerism and advancing age. Or simply as a fierce groove with a clutch of nonsense lyrics dashed on the top. Either way, it sounds like nothing else in the history of pop.

cijeli tekst

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(Nothing But) Flowers (1988)

 

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