Genius of Love! I usually like to root for the underdog, but it kind of feels wrong in this instance. I guess another factor is Byrne's work after the band is forgettable (admittedly not a fan of much of it) and. Or maybe they just really like Genius of Love, or Tina's bass playing.

Apparently a band still looking for excellent and varied musical contributors both live and in studio.Д¬onsidering the credits above, being a charismatic one of a kind 'frontman', an engaging public persona (this is hard work), the above average rhythm guitar playing, the still resonating art bent he brought to the band, does the proposition of this thread seem kind of absurd? Apparently many posting here think think Byrne is 'overrated' in this band. After three records Eno has been actively removed, so we're told. I love what Van Tiegham bring to This Must Be The Place. The band is joined by 10!!! fabulous musicians. Speaking in Tongues has no individual songwriting credits, but Byre is credited as the sole lyricist (typically considered 50% of a songs worth) and Byrne is the first listed in the 'music by' credits. The great Rhett Davis gets a credit for engineering. Isn't that part of what's considered so important about this record? The studio as an instrument. Byrne and Eno credited with mixing the album. More bad playing from a non songwriting Eno and lots of other overdubbing musicians. Harrison is credited twice (in addition to Eno and Byrne) for Houses in Motion and The Overload. My Canadian Remain in Light label reads 'All Selections Written by David Byrne & Brian Eno except as indicated'. No one can really argue about the effectiveness of his treatments. The writing credits on my first US press of Fear of Music read, 'All selections written by David Byrne'. Most likely he's playing them badly, or at least below average. Unfortunately Eno is credited with playing more instruments than any individual in the band. Franz has a co write on Stay Hungry and there's a co write with someone named Wayne Zieve on the great song Artists Only. Looking at the credits for More Songs Byrne is solely credited on every song but Take me to the River of course. Tina and Chris used the same method making the Tom Tom Club album - recording a bunch of tracks, and then figuring out what to sing over it. So, the writing of the words and melodies Byrne sang took place after the instrumental music was created, and did not involve the rest of the band. We then did rough mixes of these вЂњsongsвЂќ-including these gibberish vocals-for everyone to listen to, while I took them home to write actual words. Sometimes even harmonies, also wordless, were added, to give the impression of a rousing chorus. Often it took a few tries before arriving at a suitable melody for a verse and a different one for the chorus. But we werenвЂ™t going to use found vocals this time, so when these sections had been created, Eno or I would go into the studio and sing to them, improvising a wordless melody. So far, this was all very much like the process Eno and I had used in the Bush of Ghosts sessions. Up to this point, there was still no top-line melody, nothing that the singer (me) would put words to. The bass line tended to remain constant, but one could still imply key modulations, illusory chord changes, which were very useful for building excitement while maintaining the trance-like feeling of constant root notes. One group of instruments that produced a certain texture and groove might eventually be nominated as a вЂњverseвЂќ section, and another group-often larger-sounding-would be nominated as the вЂњchorus.вЂќ Often in these songs there was no real key change. While the groove usually remained constant, different combinations of instruments would be switched on and off simultaneously at different given times. Here is David ByrneвЂ™s description of the writing process for Remain in Light, from his book How Music Works:ДЄfter the tracks began to fill up, or when the sound of them playing simultaneously was sufficiently dense, it was time to make sections.

Talking heads discography wikipedia