Editing Talking Heads (section)

===1978–1980: Collaborations with Brian Eno===
{{main|More Songs About Buildings and Food|Fear of Music|Remain in Light}}
''[[More Songs About Buildings and Food]]'' (1978) was Talking Heads' first collaboration with the producer [[Brian Eno]], who had previously worked with [[Roxy Music]], [[David Bowie]], [[John Cale]], and [[Robert Fripp]];<ref name="eno_credits">{{cite web|title=Brian Eno {{!}} Credits|url=http://www.allmusic.com/artist/brian-eno-mn0000617196/credits|work=Allmusic|access-date=April 25, 2014}}</ref> the title of Eno's 1977 song "King's Lead Hat" is an [[anagram]] of the band's name. Eno's unusual style meshed with the group's artistic sensibilities, and they began to explore an increasingly diverse range of musical directions—from [[psychedelic funk]] to [[African music]], influenced prominently by [[Fela Kuti]] and [[Parliament-Funkadelic]].<ref name="Ricchini">{{cite news |first= William |last= Ricchini |title= Napolitano Brings Out Best Of Heads |newspaper= [[The Philadelphia Inquirer]] |url=http://articles.philly.com/1996-11-12/entertainment/25650345_1_heads-keyboardist-jerry-harrison-performance |date= November 12, 1996 |access-date= April 24, 2015 |archive-url=https://web.archive.org/web/20151230030048/http://articles.philly.com/1996-11-12/entertainment/25650345_1_heads-keyboardist-jerry-harrison-performance |archive-date=December 30, 2015 |url-status=dead}}</ref><ref name="Pilchak">{{cite book|first= Angela M. |last= Pilchak |title= Contemporary Musicians |volume= 49 |year= 2005 |publisher= [[Gale (publisher)|Gale]] |isbn= 978-0-7876-8062-6 |page= 77}}</ref><ref name="Simon Reynolds 2005 p. 163">Simon Reynolds. ''Rip It up and Start Again: Postpunk 1978–1984''. Penguin Books (2005) p. 163.</ref> This recording also established the band's relationship with [[Compass Point Studios]] in [[Nassau, Bahamas]]. ''More Songs About Buildings and Food'' included a cover of [[Al Green]]'s "[[Take Me to the River]]", which brought Talking Heads into the public consciousness and gave them their first ''Billboard'' Top 30 hit.<ref name="Simon Reynolds 2005 p. 163"/>

[[File:Talking Heads band1.jpg|thumb|Harrison (left), Frantz (middle) and Byrne (right) performing with Talking Heads in 1978]]
The collaboration continued with ''[[Fear of Music]]'' (1979), which mixed the darker stylings of post-punk rock with white [[funkadelia]] and subliminal references to the geopolitical instability of the late 1970s.<ref name="Simon Reynolds 2005 p. 163"/> Music journalist [[Simon Reynolds]] cited ''Fear of Music'' as representing the Eno–Talking Heads collaboration "at its most mutually fruitful and equitable".<ref>Simon Reynolds. ''Rip It up and Start Again: Postpunk 1978–1984''. Penguin Books (2005) pp. 163–164.</ref> The single "[[Life During Wartime (song)|Life During Wartime]]" produced the catchphrase "This ain't no party, this ain't no disco".<ref>{{cite web|last=Janovitz|first=Bill|title=Life During Wartime – Song Review|url=http://www.allmusic.com/song/life-during-wartime-mt0031644471|work=Allmusic|access-date=April 25, 2014}}</ref> The song refers to the [[Mudd Club]] and [[CBGB]], two popular New York nightclubs of the time.<ref name=latimes_20years>{{cite web|last=Robbins|first=Ira|title=20 Years Later, CBGB Ain't No Disco: Clubs: A look back as the Bowery bar concludes a monthlong celebration of its commitment to underground rock's trends|url=https://www.latimes.com/archives/la-xpm-1993-12-31-ca-7219-story.html|work=[[Los Angeles Times]]|date=December 31, 1993 |access-date=April 25, 2014}}</ref>

''[[Remain in Light]]'' (1980) was heavily influenced by the [[Afrobeat]] of Nigerian bandleader [[Fela Kuti]], whose music had been introduced to the band by Eno. It explored West African [[polyrhythm]]s, weaving these together with Arabic music from North Africa, disco funk, and "found" voices.<ref>Simon Reynolds. ''Rip It up and Start Again: Postpunk 1978–1984''. Penguin Books (2005) p. 165.</ref> These combinations foreshadowed Byrne's later interest in [[world music]].<ref name=allmusic_byrne_bio>{{cite web|last=Ankeny|first=Jason|title=David Byrne {{!}} Biography|url=http://www.allmusic.com/artist/david-byrne-mn0000197364/biography|work=Allmusic|access-date=April 25, 2014}}</ref> To perform these more complex arrangements, the band toured with an expanded group, including [[Adrian Belew]] and [[Bernie Worrell]], among others, first at the [[Heatwave (festival)|Heatwave]] festival in August,<ref name=michigan_daily_heatwave>{{cite news|last=Robins|first=Jim|title=Expanded Talking Heads Climax Canadian New Wave Festival|url=https://news.google.com/newspapers?nid=2706&dat=19800906&id=UhNKAAAAIBAJ&sjid=bx4NAAAAIBAJ&pg=1428,170371|newspaper=[[The Michigan Daily]]|date=September 6, 1980}}</ref> and later in their concert film ''[[Stop Making Sense]]''.{{Citation needed|date=April 2023}}

During this period, Weymouth and Frantz formed a commercially successful splinter group, [[Tom Tom Club]], influenced by the foundational elements of [[hip hop]],<ref name=latimes_tomtomclub>{{cite news|last=Boehm|first=Mike|title=x-Heads Say They Got Byrned: Split Still Miffs Frantz, Weymouth, Even Though Tom Tom Club Keeps Them Busy|url=https://www.latimes.com/archives/la-xpm-1992-09-10-ca-490-story.html|newspaper=Los Angeles Times|date=September 10, 1992}}</ref> and Harrison released his first solo album, ''[[The Red and the Black (album)|The Red and the Black]]''.<ref name=nytimes_poplife>{{cite news|last=Palmer|first=Robert|title=The Pop Life|url=https://www.nytimes.com/1981/11/18/arts/the-pop-life-097396.html|newspaper=[[The New York Times]]|date=November 18, 1981}}</ref> Byrne and Eno released ''[[My Life in the Bush of Ghosts (album)|My Life in the Bush of Ghosts]]'', which incorporated world music, found sounds and a number of other prominent international and post-punk musicians.<ref>{{cite web|last=Bush|first=John|title=My Life in the Bush of Ghosts|url=http://www.allmusic.com/album/my-life-in-the-bush-of-ghosts-mw0000651183|work=Allmusic|access-date=April 25, 2014}}</ref>

{{Listen
|filename=Talking Heads - Once in a Lifetime.ogg
|title="Once in a Lifetime"
|description=The fourth song from ''Remain in Light'' used Eno's [[Oblique Strategies]] technique and featured Byrne's alienated meditation on life. The song was named one of the 100 most important American musical works of the 20th century by NPR.<ref>{{cite web|title=The 100 most important American musical works of the 20th century|url=https://www.npr.org/programs/specials/vote/list100.html|work=[[NPR]]|access-date=May 5, 2014}}</ref>
|format=[[Ogg]]}}
''Remain in Light''{{'}}s lead single, "[[Once in a Lifetime (Talking Heads song)|Once in a Lifetime]]", became a Top 20 hit in the UK, but initially failed to make an impression in the US. It grew into a popular standard over the next few years on the strength of its music video, which [[Time (magazine)|''Time'']] named one of the greatest of all time.<ref>Simon Reynolds. ''Rip It up and Start Again: Postpunk 1978–1984''. Penguin Books (2005) p. 169.</ref><ref>{{cite magazine |last=Sanburn |first=Josh |title=The 30 All-TIME Best Music Videos – Talking Heads, 'Once in a Lifetime' (1980) |url=https://entertainment.time.com/2011/07/28/the-30-all-time-best-music-videos/slide/talking-heads-once-in-a-lifetime-1980/ |magazine=[[Time (magazine)|Time]] |date=July 26, 2011|access-date=October 19, 2024}}</ref>