Chords for Explore Talking Heads’ Remain in Light (in 5 Minutes) | Liner Notes
Tempo:
114.85 bpm
Chords used:
G
Ab
Gm
D
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
A cauldron of roiling polyrhythms, mesmerizing experimental electronics, and cryptic lyrics,
[N] Talking Head's 1980 album, Remain in Light, fused American punk with thrilling grooves.
It also broke the arty New York City quartet into downtown dance clubs, the top of critics
lists, and onto MTV.
Remain in Light documents one of rock's great balancing acts, merging the band's cerebral
leanings, punk rock jitters, [A] and rhythmic [Ab] fascinations into a thrilling fusion that
pulled them in multiple captivating directions at once, and that's not to mention the tension.
Born [F] Under Punches, The Heat Goes On opens the album with Talking Head's newfound rhythmic
prowess front [C] and center.
[Gm] [Eb] [Gm]
After the tumultuous tours that followed 1979's Fear [N] of Music, the band's husband-wife rhythm
section of drummer Chris France and bassist Tina Weymouth had to camp to the Bahamas,
uncertain if they would even stay in the group.
When frontman David Byrne and keyboardist-guitarist Jerry [Ab] Harrison joined them, the group jammed
communally, utilizing Fear of Music's propulsive E-Zimbra as a launching pad.
[G] Though Brian Eno had produced the previous two Talking Heads albums, he hadn't planned
on working with the band a third time.
But upon hearing their newest [Ab] demos, he signed on, thickening the rhythms with an array of
loops and layers.
[Eb]
[Gm]
[D] [N] Cross-Eyed and Painless, especially, shows the group's clear debt to African-American
pop music of all types.
Before work began on Remain in Light, France had provided the backbeat on Curtis Blow's
early hip-hop hit, The Breaks, and the rapper's percussive delivery was subsequently taken
up by Byrne on Cross-Eyed and Painless's vocal breakdown.
[Bm] Houses
[N] in Motion, meanwhile, pledges allegiance to Nigerian Afrobeat pioneer Fela Kuti, long
a touchstone for Eno.
The song courses with a phantasmal horn part, arranged by avant-garde trumpeter-composer
John Hassel, originally slated to collaborate on what would become Byrne and Eno's influential
collage of global sounds and tape loops, My Life in the Bush of Ghosts, released after
Remain in Light but recorded before.
Though Byrne and Eno would play up the influence of African music on Remain in Light, the France-Weymouth
rhythm section would counter that the album drew more heavily from funk, R&B, and early hip [Em]-hop.
I'm thinking about the explosion
Leading [N]
off Side 2, Once in a Lifetime remains arguably the band's most ubiquitous song and
the album's centerpiece, though at the time of its release, Remain in Light was the worst-selling
Talking Heads LP, and the single didn't even break the Billboard Top 100.
Perhaps no longer appealing to rock fans with its unfurling polyrhythms, the two-bar pulse
of Once in a Lifetime instead received plenty of play at New York City's club mecca, the Paradise Garage.
Put into heavy rotation by the club's resident DJ, Larry Levan, it broke the band to a wider
African-American audience, including R&B radio.
It would take another year for the song's quirky music video, featuring a bespectacled
Byrne iconically twitching his way through an existential crisis, to launch them into mainstream America.
[G] [D]
[G] [D]
[Gm] [G] Talking Heads' willingness to think hard and take risks continues to reverberate through
generations of newer bands.
From Radiohead, [F] who took their [N] name from a 1986 Talking Heads song, The Vampire Weekend.
From Phish, who covered Remain in Light in its entirety, The St.
Vincent, who would go
on to collaborate with Byrne.
The group expanded its parameters, embracing global rhythms and fusing them to rock without
losing the energy of either.
[Ab]
Decades after its release, Remain in Light continues to illuminate and pulse.
[Db] [C] [Bbm]
[N]
A cauldron of roiling polyrhythms, mesmerizing experimental electronics, and cryptic lyrics,
[N] Talking Head's 1980 album, Remain in Light, fused American punk with thrilling grooves.
It also broke the arty New York City quartet into downtown dance clubs, the top of critics
lists, and onto MTV.
Remain in Light documents one of rock's great balancing acts, merging the band's cerebral
leanings, punk rock jitters, [A] and rhythmic [Ab] fascinations into a thrilling fusion that
pulled them in multiple captivating directions at once, and that's not to mention the tension.
Born [F] Under Punches, The Heat Goes On opens the album with Talking Head's newfound rhythmic
prowess front [C] and center.
[Gm] [Eb] [Gm]
After the tumultuous tours that followed 1979's Fear [N] of Music, the band's husband-wife rhythm
section of drummer Chris France and bassist Tina Weymouth had to camp to the Bahamas,
uncertain if they would even stay in the group.
When frontman David Byrne and keyboardist-guitarist Jerry [Ab] Harrison joined them, the group jammed
communally, utilizing Fear of Music's propulsive E-Zimbra as a launching pad.
[G] Though Brian Eno had produced the previous two Talking Heads albums, he hadn't planned
on working with the band a third time.
But upon hearing their newest [Ab] demos, he signed on, thickening the rhythms with an array of
loops and layers.
[Eb]
[Gm]
[D] [N] Cross-Eyed and Painless, especially, shows the group's clear debt to African-American
pop music of all types.
Before work began on Remain in Light, France had provided the backbeat on Curtis Blow's
early hip-hop hit, The Breaks, and the rapper's percussive delivery was subsequently taken
up by Byrne on Cross-Eyed and Painless's vocal breakdown.
[Bm] Houses
[N] in Motion, meanwhile, pledges allegiance to Nigerian Afrobeat pioneer Fela Kuti, long
a touchstone for Eno.
The song courses with a phantasmal horn part, arranged by avant-garde trumpeter-composer
John Hassel, originally slated to collaborate on what would become Byrne and Eno's influential
collage of global sounds and tape loops, My Life in the Bush of Ghosts, released after
Remain in Light but recorded before.
Though Byrne and Eno would play up the influence of African music on Remain in Light, the France-Weymouth
rhythm section would counter that the album drew more heavily from funk, R&B, and early hip [Em]-hop.
I'm thinking about the explosion
Leading [N]
off Side 2, Once in a Lifetime remains arguably the band's most ubiquitous song and
the album's centerpiece, though at the time of its release, Remain in Light was the worst-selling
Talking Heads LP, and the single didn't even break the Billboard Top 100.
Perhaps no longer appealing to rock fans with its unfurling polyrhythms, the two-bar pulse
of Once in a Lifetime instead received plenty of play at New York City's club mecca, the Paradise Garage.
Put into heavy rotation by the club's resident DJ, Larry Levan, it broke the band to a wider
African-American audience, including R&B radio.
It would take another year for the song's quirky music video, featuring a bespectacled
Byrne iconically twitching his way through an existential crisis, to launch them into mainstream America.
[G] [D]
[G] [D]
[Gm] [G] Talking Heads' willingness to think hard and take risks continues to reverberate through
generations of newer bands.
From Radiohead, [F] who took their [N] name from a 1986 Talking Heads song, The Vampire Weekend.
From Phish, who covered Remain in Light in its entirety, The St.
Vincent, who would go
on to collaborate with Byrne.
The group expanded its parameters, embracing global rhythms and fusing them to rock without
losing the energy of either.
[Ab]
Decades after its release, Remain in Light continues to illuminate and pulse.
[Db] [C] [Bbm]
[N]
Key:
G
Ab
Gm
D
F
G
Ab
Gm
_ [G] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ A cauldron of roiling polyrhythms, mesmerizing experimental electronics, and cryptic lyrics,
[N] Talking Head's 1980 album, Remain in Light, fused American punk with thrilling grooves.
It also broke the arty New York City quartet into downtown dance clubs, the top of critics
lists, and onto MTV.
Remain in Light documents one of rock's great balancing acts, merging the band's cerebral
leanings, punk rock jitters, [A] and rhythmic [Ab] fascinations into a thrilling fusion that
pulled them in multiple captivating directions at once, and that's not to mention the tension.
Born [F] Under Punches, The Heat Goes On opens the album with Talking Head's newfound rhythmic
prowess front [C] and center. _
_ [Gm] _ _ _ [Eb] _ _ [Gm] _ _
_ _ _ _ _ _ _ _
_ After the tumultuous tours that followed 1979's Fear [N] of Music, the band's husband-wife rhythm
section of drummer Chris France and bassist Tina Weymouth had to camp to the Bahamas,
uncertain if they would even stay in the group.
When frontman David Byrne and keyboardist-guitarist Jerry [Ab] Harrison joined them, the group jammed
communally, utilizing Fear of Music's propulsive E-Zimbra as a launching pad.
[G] Though Brian Eno had produced the previous two Talking Heads albums, he hadn't planned
on working with the band a third time.
But upon hearing their newest [Ab] demos, he signed on, thickening the rhythms with an array of
loops and layers.
[Eb] _ _
_ _ _ [Gm] _ _ _ _ _
_ _ _ _ [D] _ _ [N] Cross-Eyed and Painless, especially, shows the group's clear debt to African-American
pop music of all types.
Before work began on Remain in Light, France had provided the backbeat on Curtis Blow's
early hip-hop hit, The Breaks, and the rapper's percussive delivery was subsequently taken
up by Byrne on Cross-Eyed and Painless's vocal breakdown.
[Bm] _ _ _ Houses _ _
_ _ _ _ _ _ [N] in Motion, meanwhile, pledges allegiance to Nigerian Afrobeat pioneer Fela Kuti, long
a touchstone for Eno.
The song courses with a phantasmal horn part, arranged by avant-garde trumpeter-composer
John Hassel, originally slated to collaborate on what would become Byrne and Eno's influential
collage of global sounds and tape loops, My Life in the Bush of Ghosts, released after
Remain in Light but recorded before.
Though Byrne and Eno would play up the influence of African music on Remain in Light, the France-Weymouth
rhythm section would counter that the album drew more heavily from funk, R&B, and early hip [Em]-hop. _ _ _
_ _ I'm thinking about the explosion
_ Leading _ _ _ _ [N] _
off Side 2, Once in a Lifetime remains arguably the band's most ubiquitous song and
the album's centerpiece, though at the time of its release, Remain in Light was the worst-selling
Talking Heads LP, and the single didn't even break the Billboard Top 100.
_ Perhaps no longer appealing to rock fans with its unfurling polyrhythms, the two-bar pulse
of Once in a Lifetime instead received plenty of play at New York City's club mecca, the Paradise Garage.
Put into heavy rotation by the club's resident DJ, Larry Levan, it broke the band to a wider
African-American audience, including R&B radio.
It would take another year for the song's quirky music video, featuring a bespectacled
Byrne iconically twitching his way through an existential crisis, to launch them into mainstream America.
[G] _ [D] _
_ [G] _ _ _ _ _ _ [D] _
_ _ [Gm] _ _ _ _ [G] Talking Heads' willingness to think hard and take risks continues to reverberate through
generations of newer bands.
From Radiohead, [F] who took their [N] name from a 1986 Talking Heads song, The Vampire Weekend.
From Phish, who covered Remain in Light in its entirety, The St.
Vincent, who would go
on to collaborate with Byrne.
The group expanded its parameters, embracing global rhythms and fusing them to rock without
losing the energy of either.
[Ab]
Decades after its release, Remain in Light continues to illuminate and pulse.
_ _ [Db] _ _ _ [C] _ [Bbm] _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
_ A cauldron of roiling polyrhythms, mesmerizing experimental electronics, and cryptic lyrics,
[N] Talking Head's 1980 album, Remain in Light, fused American punk with thrilling grooves.
It also broke the arty New York City quartet into downtown dance clubs, the top of critics
lists, and onto MTV.
Remain in Light documents one of rock's great balancing acts, merging the band's cerebral
leanings, punk rock jitters, [A] and rhythmic [Ab] fascinations into a thrilling fusion that
pulled them in multiple captivating directions at once, and that's not to mention the tension.
Born [F] Under Punches, The Heat Goes On opens the album with Talking Head's newfound rhythmic
prowess front [C] and center. _
_ [Gm] _ _ _ [Eb] _ _ [Gm] _ _
_ _ _ _ _ _ _ _
_ After the tumultuous tours that followed 1979's Fear [N] of Music, the band's husband-wife rhythm
section of drummer Chris France and bassist Tina Weymouth had to camp to the Bahamas,
uncertain if they would even stay in the group.
When frontman David Byrne and keyboardist-guitarist Jerry [Ab] Harrison joined them, the group jammed
communally, utilizing Fear of Music's propulsive E-Zimbra as a launching pad.
[G] Though Brian Eno had produced the previous two Talking Heads albums, he hadn't planned
on working with the band a third time.
But upon hearing their newest [Ab] demos, he signed on, thickening the rhythms with an array of
loops and layers.
[Eb] _ _
_ _ _ [Gm] _ _ _ _ _
_ _ _ _ [D] _ _ [N] Cross-Eyed and Painless, especially, shows the group's clear debt to African-American
pop music of all types.
Before work began on Remain in Light, France had provided the backbeat on Curtis Blow's
early hip-hop hit, The Breaks, and the rapper's percussive delivery was subsequently taken
up by Byrne on Cross-Eyed and Painless's vocal breakdown.
[Bm] _ _ _ Houses _ _
_ _ _ _ _ _ [N] in Motion, meanwhile, pledges allegiance to Nigerian Afrobeat pioneer Fela Kuti, long
a touchstone for Eno.
The song courses with a phantasmal horn part, arranged by avant-garde trumpeter-composer
John Hassel, originally slated to collaborate on what would become Byrne and Eno's influential
collage of global sounds and tape loops, My Life in the Bush of Ghosts, released after
Remain in Light but recorded before.
Though Byrne and Eno would play up the influence of African music on Remain in Light, the France-Weymouth
rhythm section would counter that the album drew more heavily from funk, R&B, and early hip [Em]-hop. _ _ _
_ _ I'm thinking about the explosion
_ Leading _ _ _ _ [N] _
off Side 2, Once in a Lifetime remains arguably the band's most ubiquitous song and
the album's centerpiece, though at the time of its release, Remain in Light was the worst-selling
Talking Heads LP, and the single didn't even break the Billboard Top 100.
_ Perhaps no longer appealing to rock fans with its unfurling polyrhythms, the two-bar pulse
of Once in a Lifetime instead received plenty of play at New York City's club mecca, the Paradise Garage.
Put into heavy rotation by the club's resident DJ, Larry Levan, it broke the band to a wider
African-American audience, including R&B radio.
It would take another year for the song's quirky music video, featuring a bespectacled
Byrne iconically twitching his way through an existential crisis, to launch them into mainstream America.
[G] _ [D] _
_ [G] _ _ _ _ _ _ [D] _
_ _ [Gm] _ _ _ _ [G] Talking Heads' willingness to think hard and take risks continues to reverberate through
generations of newer bands.
From Radiohead, [F] who took their [N] name from a 1986 Talking Heads song, The Vampire Weekend.
From Phish, who covered Remain in Light in its entirety, The St.
Vincent, who would go
on to collaborate with Byrne.
The group expanded its parameters, embracing global rhythms and fusing them to rock without
losing the energy of either.
[Ab]
Decades after its release, Remain in Light continues to illuminate and pulse.
_ _ [Db] _ _ _ [C] _ [Bbm] _ _
_ _ _ _ _ _ _ [N] _