Editing Remain in Light (section)

==Background==
In January 1980, the members of Talking Heads returned to New York City after touring in support of their 1979 album ''[[Fear of Music]]'', and took time off to pursue personal interests. Singer [[David Byrne]] worked with [[Brian Eno]], the record's producer, on the album ''[[My Life in the Bush of Ghosts (album)|My Life in the Bush of Ghosts]]''.<ref name=shakers>{{cite book |last1=Rees, Dafydd |last2=Crampton, Luke |title=Rock Movers & Shakers|year=1991 |publisher=[[Billboard (magazine)|Billboard Books]]|isbn=0-8230-7609-1 |page=519}}</ref> Keyboardist [[Jerry Harrison]] produced an album for soul singer [[Nona Hendryx]] at [[Sigma Sound Studios]]' secondary facility in New York City; Talking Heads would later record at Sigma and employ Hendryx as a backing vocalist on Harrison's advice.{{sfn|Bowman|2001|p=165}}

Drummer [[Chris Frantz]] and bassist [[Tina Weymouth]], a married couple, discussed leaving Talking Heads after Weymouth suggested that Byrne was too controlling.{{sfn|Bowman|2001|p=164}} Frantz did not want to leave, and the two took a long vacation in the Caribbean to ponder the state of the band and their marriage. They became involved in [[Haitian Vodou]] religious ceremonies, practiced native percussion instruments, and socialised with the [[reggae]] [[rhythm section]] of [[Sly and Robbie]].{{sfn|Bowman|2001|p=165}}

Frantz and Weymouth ended their holiday by purchasing an apartment above [[Compass Point Studios]] in [[Nassau, The Bahamas|Nassau]], [[The Bahamas|Bahamas]], where Talking Heads and Eno had recorded ''[[More Songs About Buildings and Food]]'' in 1978.{{sfn|Bowman|2001|p=165}} Byrne joined the duo and Harrison there in early 1980.{{sfn|Bowman|2001|p=167}} The band members realized that songwriting had thus far been largely Byrne's responsibility, and that they had become tired of the notion of being a singer and a backing band; the ideal they aimed for, according to Byrne, was "sacrificing our egos for mutual cooperation".{{sfn|Pareles|1982|p=38}} Byrne also wanted to escape "the psychological paranoia and personal torment" that he had been feeling and writing about in New York.<ref name="TGINT" /> Instead of writing music to Byrne's lyrics, the group performed extended instrumental [[jam session|jams]], using the ''Fear of Music'' track "[[I Zimbra]]" as a foundation.{{sfn|Bowman|2001|p=167}}

Eno arrived in the Bahamas three weeks after Byrne. While reluctant to work with the band again after collaborating on their previous two albums, he changed his mind after hearing the instrumental demo tapes.{{sfn|Bowman|2001|p=167}} The band and Eno experimented with the communal African way of making music, in which individual parts mesh as [[polyrhythm]]s.{{sfn|Pareles|1982|p=38}} Nigerian musician [[Fela Kuti]]'s 1973 album [[Afrodisiac (Fela Kuti album)|''Afrodisiac'']] became the band and Eno's template for the album.<ref name="TGINT" /> According to Weymouth, the emergence of [[Hip hop music|hip-hop]] made the band realize that the musical landscape was changing.<ref name="NPR" /> Before the studio sessions began, the band's friend [[David Gans (musician)|David Gans]] told them that "the things one doesn't intend are the seeds for a more interesting future", encouraging them to experiment, improvise and make use of "mistakes".<ref name="brog167" />