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Naked: Difference between revisions
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| name = Naked | | name = Naked | ||
| type = studio | | type = studio | ||
| single1 = [[ | | single1 = [[Blind]] | ||
| single1date = August 1988<ref>{{cite book|url=https://archive.org/details/greatrockdiscogr00stro/page/808/|title=The Great Rock Discography|year=1995|page=809 |isbn=9780862415419 |last1=Strong |first1=Martin Charles }}</ref> | | single1date = August 1988<ref>{{cite book|url=https://archive.org/details/greatrockdiscogr00stro/page/808/|title=The Great Rock Discography|year=1995|page=809 |isbn=9780862415419 |last1=Strong |first1=Martin Charles }}</ref> | ||
| single2 = [[(Nothing But) Flowers]] | | single2 = [[(Nothing But) Flowers]] | ||
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==Recording== | ==Recording== | ||
[[File:Steve_Lillywhite_during_interview.jpg|thumb|left|Co-producer [[Steve Lillywhite]] ''(pictured in 2010)'' helped consolidate the album's shift in sound.]] | [[File:Steve_Lillywhite_during_interview.jpg|thumb|left|Co-producer [[Steve Lillywhite]] ''(pictured in 2010)'' helped consolidate the album's shift in sound.]] | ||
Wanting to try something different after their use of regional American music and the pop song format on their previous two albums ''[[Little Creatures]]'' (1985) and ''[[True Stories ( | Wanting to try something different after their use of regional American music and the pop song format on their previous two albums ''[[Little Creatures]]'' (1985) and ''[[True Stories (album)|True Stories]]'' (1986), Talking Heads decided to record their next album in [[Paris]] with a group of international musicians. According to the album's liner notes, the decision to do so was in part a reaction to the foreign policy of the[Ronald Reagan administration, which had grown increasingly isolationist in approach. Prior to leaving for France, the band recorded about 40 improvisational tracks that would serve as the foundation for the sessions in Paris. | ||
In Paris, the band, along with producer [[Steve Lillywhite]], were joined by a number of other musicians in the recording studio where they would rehearse and play for the entire day. At the end of each day, one take was selected as being the ideal version of a particular tune. "Paris is a wonderful place to work," observed drummer [[Chris Frantz]] in the liner notes of ''[[Once in a Lifetime: The Best of Talking Heads]]''. "We were really embracing world culture fully." In the interest of freedom for the musicians, it was decided that lyrics and melodies would be left until later. The lyrics were not overdubbed until the band returned to New York. Many of David Byrne's lyrics were improvisations sung along with the prerecorded tracks until he found something that he felt worked. In this way, the melodies and lyrics evolved in a similar fashion as the songs themselves. According to Lillywhite, the album's more organic, percussive sound was a deliberate move away from the bombastic production that he had helped make commonplace in the 1980s, stating that "It wasn't made so angular and mixed so loud as it might have been in the past. It was more of a warm sound with all for the beats compensated for." | In Paris, the band, along with producer [[Steve Lillywhite]], were joined by a number of other musicians in the recording studio where they would rehearse and play for the entire day. At the end of each day, one take was selected as being the ideal version of a particular tune. "Paris is a wonderful place to work," observed drummer [[Chris Frantz]] in the liner notes of ''[[Once in a Lifetime: The Best of Talking Heads]]''. "We were really embracing world culture fully." In the interest of freedom for the musicians, it was decided that lyrics and melodies would be left until later. The lyrics were not overdubbed until the band returned to New York. Many of David Byrne's lyrics were improvisations sung along with the prerecorded tracks until he found something that he felt worked. In this way, the melodies and lyrics evolved in a similar fashion as the songs themselves. According to Lillywhite, the album's more organic, percussive sound was a deliberate move away from the bombastic production that he had helped make commonplace in the 1980s, stating that "It wasn't made so angular and mixed so loud as it might have been in the past. It was more of a warm sound with all for the beats compensated for." | ||
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{{track listing | {{track listing | ||
| total_length = 52:17 | | total_length = 52:17 | ||
| title1 = [[ | | title1 = [[Blind]] | ||
| length1 = 4:58 | | length1 = 4:58 | ||
| title2 = Mr. Jones | | title2 = Mr. Jones | ||
| Line 79: | Line 79: | ||
| total_length = 22:21 | | total_length = 22:21 | ||
| headline = Side one | | headline = Side one | ||
| title1 = [[ | | title1 = [[Blind]] | ||
| length1 = 4:58 | | length1 = 4:58 | ||
| title2 = Mr. Jones | | title2 = Mr. Jones | ||