Speaking in Tongues is the fifth studio album by American rock band Talking Heads, released on June 1, 1983 by Sire Records. Following their split with producer Brian Eno and a short hiatus, which allowed the individual members to pursue side projects, recording began in 1982. It became the band's commercial breakthrough and produced the band's first (and only) US top-ten hit, "Burning Down the House".
the package without breaking it, supporting the nature of the record with the attitude that the music existed beyond space, that it merely needed to be held to be appreciated
New-Wave Talking Heads.
Speaking in Tongues (disambiguation). Redirected from Speaking in Tongues (album)). Glossolalia or speaking in tongues is the phenomenon of speaking in unintelligible utterances (often as part of religious practices). Speaking in Tongues may also refer to: Angelic tongues, a term related to the concept of sung praise in Second Temple period Jewish materials. Speaking in Tongues (Talking Heads album), 1983. Speaking in Tongues (David Murray album), 1999.
The song 'Speaking Tongues' by Robbie Williams has a tempo of 114 beats per minute (BPM) on 'Under the Radar, Vol 2. Video Speaking Tongues. Under the Radar, Vol 2. 2017. Top Songs Robbie Williams.
Speaking in Tongues is an album by David Murray released on the Justin Time label .
Speaking In Tongues became their breakthrough album, containing two of their biggest hits, Burning Down the House and This Must Be the Place (Naïve Melody,) the latter of which has been covered by several bands, including a notable version by Arcade Fire featuring David Byrne himself on guest vocals. Speaking in Tongues Q&A. Produced by Talking Heads. Mastered by Ted Jensen. Assistant Engineer John Convertino, Frankie Gibson & Jay Mark. Engineered By Alex Sadkin & Butch Jones.
Talking Heads found a way to open up the dense textures of the music they had developed with Brian Eno on their two previous studio albums for Speaking in Tongues, and were rewarded with their most popular album yet. Ten backup singers and musicians accompanied the original quartet, but somehow the sound was more spacious, and the music admitted aspects of gospel, notably in the call-and-response of "Slippery People," and John Lee Hooker-style blues, on "Swamp.