Talking Heads’ last big push returned to the sonic density of Remain in Light, with South America replacing west Africa as a rhythmic source. Photograph: Ebet Roberts/Redferns 14 Talking Heads – Naked (1988) Ryuichi Sakamoto playing a Fairlight CMI Series III sampling synthesiser and a Yamaha DX7 keyboard.
The Oscar-winning soundtrack to Bertolucci’s film is divided down the middle: Ryuichi Sakamoto’s score melds romantic strings with Chinese instrumentation, but Byrne’s consists of a variant on what Can would have dubbed ethnological forgeries: his own interpretation of Chinese classical music, played largely on traditional instruments. 15 David Byrne/Ryuichi Sakamoto/Cong Su – The Last Emperor (1987) Not everything on Look Into the Eyeball’s eclectic menu is fantastic, but it is substantially more fun than its predecessor, Feelings, on which Byrne dabbled awkwardly with drum’n’bass and trip-hop: indeed, on its two collaborations with legendary soul producer Thom Bell, it has a genuinely infectious euphoria about it, suggestive of an artist once more finding his groove. 16 David Byrne – Look Into the Eyeball (2001) There is no doubt a 90-minute concept album about Imelda Marcos featuring guest appearances from Florence Welch, Sia and Cyndi Lauper is a tough sell, but Here Lies Love is surprisingly great: the songs are sparky – as dance producers go, Fatboy Slim has always been big on pop hooks – the story is legible and Róisín Murphy’s turn on the disco-infused Don’t You Agree? is a delight.
Photograph: Xander Deccio/imageSPACE/SilverHub/Rex/Shutterstock 17 David Byrne and Fatboy Slim – Here Lies Love (2010) Byrne performs at the Sasquatch festival, May 2018.
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