I got plenty of time

Talking Heads - 'This Must Be The Place (Naive Melody)' (Speaking In Tongues - 1983)

As I get older, I find myself more and more attracted to love songs that are not quite the type with lyrics that would work on a Hallmark card. Talking Heads' ‘This Must Be the Place (Naive Melody)’ is one of those such songs. We can all understand the sentiment of “And you love me till my heart stops”, but it doesn’t sit well on a birthday card; in the same way, the lyrics of ‘Do You Realize?’ wouldn’t.

What sets the Talking Heads’ number apart is the sheer volume of non-sequitur lyrics backed by an enchanting melody, and with no doubt that the song will fall back on those cliches, we often see. The song benefits from a lively introduction, reminiscent of memories of home, youth, and a carefree summer that seemed to stretch forever, where you felt everything would be OK. That’s the subtle nature of David Byrne’s lyrics.

The song's subtitle, “Naive Melody,” offers insight into its layered meaning. Unusually for the band’s discography, it had a peculiar song arrangement during its recording. The band members decided to swap their instruments when recording the track, and Tina Weymouth, typically on bass, transitioned to the guitar. Generally seen on guitar or keyboards, Jerry Harrison switched to a Prophet synthesiser, handling the bassline.

The guest musician Wally Badarou used the same synthesiser model to contribute the distinctive stabs to the track. Meanwhile, Byrne alternated between his usual instrument, the guitar, and another Prophet synthesiser, adding another layer to the song's textured soundscape. This unusual re-arrangement of their instrumental roles led to the creation of the unique naive melody that gives the piece its name and charm.

The song's music is a beautiful amalgamation of simplicity and complexity. A minimalist melodic line weaves in and out. There's a subtle yet compelling harmonic texture, with the Prophet synthesisers producing a captivating electronic timbre that threads through the entire composition. The guitar lines are understated but shape the song's tonality, while the rhythmic interplay creates a charming and hypnotic soundscape.

Interestingly, the instrumental simplicity did not diminish the song's richness, rather, it allowed the emotion in Byrne's vocals and lyrics to shine through. It gave the song a sense of genuineness and authenticity, a rare combination of amateurish charm and professional depth that added to its lasting appeal. There’s a last day of school before the holidays vibe to the track - a musical equivalent of paying £1 to wear your own clothes and bring in Screwball Scramble.

Last seen on a Facebook page about proper binman.

This experimental approach and Byrne’s emotive and poetic lyrics no doubt go some way to explain why the song was placed at the end of Speaking In Tongues. In a 2015 feature on the best 200 songs of the 1980s, Pitchfork had the song at number #22 - just ahead of New Order’s ‘Temptation’ and Pixies’ ‘Where Is My Mind?’ and said it was

an aberration for the Talking Heads. It was more of an exercise in understated musical hypnosis than polyrhythmic, Kuti-quoting funk, well-compressed instead of bursting at the seams

This is correct, and songs like ‘Burning Down The House’ and ‘Girlfriend is Better’ elsewhere on the album reflect that. With their nervous energy and twitchiness, they aren’t playing the same game as this song is.

In the ‘Self Interview’ on the DVD of the concert film Stop Making Sense, Byrne states that it is a love song, a topic he tends to avoid because it is "kinda big." adding.

That's a love song made up almost entirely of non-sequiturs, phrases that may have a solid emotional resonance but don't have any narrative qualities. It's a real honest kind of love song. I don't think I've ever done a real love song before. Mine always had a sort of reservation, or a twist. I tried to write one that wasn't corny, that didn't sound stupid or lame the way many do. I think I succeeded; I was pretty happy with that.

According to the AV Club, the song was inspired by Byrne’s girlfriend (and wife until 2004), Adelle Lutz. The article says that Byrne took…

The music from a simple instrumental vamp that he and his bandmates had cooked up during a jam session, Byrne strung together a series of short, loosely connected phrases in praise of domesticity. For someone whose rock ’n’ roll reputation had been built on ironic faux-sincerity and “songs about buildings and food,” Byrne made a startling and touchingly personal leap with lyrics like “I’m just an animal looking for a home,” and, “You love me ’til my heart stops.”

This sense of settling down in quiet contentment seems diametrically opposed to the restlessness of nearly everything they’d produced before. It talks of home as a physical location with a roof on which you feel safe but also as a state of mind between two people who can manage sitting at a resultant for more than three minutes in silence (without being on their phones!). There is a sense of joy around being and living in the moment but acknowledging that sometimes that can be fleeting.

As someone has very recently said, “Let's carpe the Diem”

In the years following its release, the reputation of ‘This Must Be the Place (Naive Melody)’ has grown dramatically. Considered an outlier within the Talking Heads catalogue initially due to its unconventional instrumentation and less mainstream sounds seeing it underperform in the Billboard charts, the song has gained significant recognition. It is now widely regarded as one of the band's definitive pieces, beloved for its unorthodox approach to songwriting and production.

Its quality has led to its use in various movies

¹

and covers by other artists, cementing its place in the annals of pop music history. The song's enduring appeal lies in its authenticity, 'naive' exploration of musical textures, and poignant commentary on home and love.

I hope you have enjoyed the 1980s month; in June, we move into the 1990s.

1. Wall Street in 1987, but also films like Lars and The Real Girl (2007) and He’s Just Not That Into You (2009)