David Byrne (born 14 May 1952) is a Scottish-born American musician, who was the founding member, principal songwriter, and lead singer and guitarist of the American new wave band Talking Heads, active between 1975 and 1991.
It goes without saying that any David Byrne solo release will be all over the sonic map, and true to form, Look Into the Eyeball provides a pancultural stew of musical styles, exotic rhythms, and international guest stars.
But what separates Eyeball from Byrne‘s previous offering, the only-fitfully successful Feelings, is a renewed emphasis on lush, natural sounds and consistent production. Nearly every track boasts strings and/or horns, and the textures go a long way in unifying Byrne‘s insistent genre-hopping. Tracks such as “Smile,” “The Revolution,” “The Accident,” and “Everyone’s in Love With You” best demonstrate his new approach: Spare melodies are layered atop subtle, percolating rhythms and then filled in with evocative string arrangements. Better yet, Byrne‘s two collaborations with legendary Philly soul producer Thom Bell — the buoyant “Like Humans Do” and “Neighborhood” — blend in effortlessly with the other material.
Of course, old habits die hard: “U.B. Jesus” and “The Great Intoxication” are at once too slick and too simple, with muddled messages both musically and lyrically. (It doesn’t help that the latter track features a cringe-inducing, self-referential “Who disco? Who techno? Who hip-hop? Who bebop?…” shout-out.) The remainder of the album vacillates between pleasant Talking Heads-ish pop (“Walk on Water”) and accomplished if out-of-place forays into the Latin avant-garde (“Desconocido Soy”). It’s hard to fault Byrne — who produces an album every three or four years — for packing as much as he can into one release. So it’s best to view Look Into the Eyeball for what it is: an entertaining assimilation of the sundry artists and sounds he’s gotten into since his last trip into the studio.
Companies, etc.
Recorded at The Cutting Room Studio and Sound On Sound Studio, NY
NRÜ vocals recorded at El Ensayo (Satelite) Studio in México
ixed at The Cutting Room Studio, NY, except “U.B. Jesus” mixed at Loveshack Studio, NY
Mastered at Sterling Sound, NY
Released May 8, 2001
Recorded at: The Cutting Room Studio and Sound on Sound Studio, New York
Genre: Alternative rock, folk rock, worldbeat
Length: 38:46
© 2001
Label - Virgin Records
But what separates Eyeball from Byrne‘s previous offering, the only-fitfully successful Feelings, is a renewed emphasis on lush, natural sounds and consistent production. Nearly every track boasts strings and/or horns, and the textures go a long way in unifying Byrne‘s insistent genre-hopping. Tracks such as “Smile,” “The Revolution,” “The Accident,” and “Everyone’s in Love With You” best demonstrate his new approach: Spare melodies are layered atop subtle, percolating rhythms and then filled in with evocative string arrangements. Better yet, Byrne‘s two collaborations with legendary Philly soul producer Thom Bell — the buoyant “Like Humans Do” and “Neighborhood” — blend in effortlessly with the other material.
Of course, old habits die hard: “U.B. Jesus” and “The Great Intoxication” are at once too slick and too simple, with muddled messages both musically and lyrically. (It doesn’t help that the latter track features a cringe-inducing, self-referential “Who disco? Who techno? Who hip-hop? Who bebop?…” shout-out.) The remainder of the album vacillates between pleasant Talking Heads-ish pop (“Walk on Water”) and accomplished if out-of-place forays into the Latin avant-garde (“Desconocido Soy”). It’s hard to fault Byrne — who produces an album every three or four years — for packing as much as he can into one release. So it’s best to view Look Into the Eyeball for what it is: an entertaining assimilation of the sundry artists and sounds he’s gotten into since his last trip into the studio.
- “U.B. Jesus” – 3:49
- “The Revolution” – 2:15
- “The Great Intoxication” – 2:36
- “Like Humans Do” – 3:32
- “Broken Things” – 4:29
- “The Accident” – 2:34
- “Desconocido Soy” – 2:38
- “Neighborhood” – 4:32
- “Smile” – 3:33
- “The Moment of Conception” – 2:55
- “Walk on Water” – 3:26
- “Everyone’s in Love with You” – 2:27
- “All Over Me” – 5:18
- “Princess” – 3:56
Companies, etc.
- Phonographic Copyright (p) – Virgin Records America, Inc.
- Copyright (c) – Virgin Records America, Inc.
- Manufactured By – Virgin Records America, Inc.
- Recorded At – The Cutting Room
- Recorded At – Sound On Sound, New York
- Recorded At – El Ensayo (Satelite) Studio
- Mixed At – The Cutting Room
- Mixed At – Loveshack Studio
- Mastered At – Sterling Sound
- Published By – Moldy Fig Music
- Arranged By – David Byrne
- Art Direction, Design – Doyle Partners
- Bass – Paul Frazier
- Cello – Alan Stepansky Sarah Seiver
- Contractor [For Strings And Horns] – Sandra Park
- Coordinator [Project] – Kara Finlay, Monica Vasquez
- Drums – Shawn Pelton
- Engineer – Ken Lewis
- Management – David Whitehead
- Mastered By – Greg Calbi
- Mixed By – Ken Lewis
- Percussion – Mauro Refosco
- Photography By – Stephen Doyle
- Photography By [Booklet Back Cover] – Danny Clinch
- Photography By [CD Label] – David Byrne
- Producer – Michael Mangini
- Viola – Robert Rinehart
- Violin – Bruno Eicher, Fiona Simon, Laura Seaton, Lisa Kim, Sandra Park, Sharon Yamada
- Vocals, Guitar, Songwriter [Songs Written By] – David Byrne
Recorded at The Cutting Room Studio and Sound On Sound Studio, NY
NRÜ vocals recorded at El Ensayo (Satelite) Studio in México
ixed at The Cutting Room Studio, NY, except “U.B. Jesus” mixed at Loveshack Studio, NY
Mastered at Sterling Sound, NY
Released May 8, 2001
Recorded at: The Cutting Room Studio and Sound on Sound Studio, New York
Genre: Alternative rock, folk rock, worldbeat
Length: 38:46
© 2001
Label - Virgin Records
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