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Here Lies Love Double CD

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Here Lies Love + Here Lies Love: Original Cast Recording
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Product details

  • Audio CD (5 April 2010)
  • Number of Discs: 2
  • Format: Double CD
  • Label: Nonesuch
  • ASIN: B002U33GR4
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Bestsellers Rank: 50,560 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Song Title Time Price
Listen  1. Here Lies Love 5:51£0.99  Buy MP3 
Listen  2. Every Drop Of Rain 5:34£0.99  Buy MP3 
Listen  3. You'll Be Taken Care Of 3:19£0.99  Buy MP3 
Listen  4. The Rose Of Tacloban 2:33£0.99  Buy MP3 
Listen  5. How Are You? 2:43£0.99  Buy MP3 
Listen  6. A Perfect Hand 4:57£0.99  Buy MP3 
Listen  7. Eleven Days 2:43£0.99  Buy MP3 
Listen  8. When She Passed By 3:49£0.99  Buy MP3 
Listen  9. Walk Like A Woman 3:58£0.99  Buy MP3 
Listen10. Don't You Agree? 3:19£0.99  Buy MP3 
Listen11. Pretty Face 3:23£0.99  Buy MP3 
Listen12. Ladies In Blue 4:20£0.99  Buy MP3 

Disc 2:

Song Title Time Price
Listen  1. Dancing Together 3:53£0.99  Buy MP3 
Listen  2. Men Will Do Anything 4:06£0.99  Buy MP3 
Listen  3. The Whole Man 4:15£0.99  Buy MP3 
Listen  4. Never So Big 4:00£0.99  Buy MP3 
Listen  5. Please Don't 3:58£0.99  Buy MP3 
Listen  6. American Troglodyte 4:07£0.99  Buy MP3 
Listen  7. Solano Avenue 3:55£0.99  Buy MP3 
Listen  8. Order 1081 5:47£0.99  Buy MP3 
Listen  9. Seven Years 5:40£0.99  Buy MP3 
Listen10. Why Don't You Love Me? 3:57£0.99  Buy MP3 

Product Description

CD Description

Here Lies Love is a double-disc song cycle--improbably poignant, decidedly surreal, surprisingly thought provoking--about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocal turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Roisin Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on "American Troglodyte", a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.

Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continue to evolve, he has delivered this unique recording. Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious--there is no mention of Imelda's infamous shoe collection.

Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. Byrne generously annotates each song in the CD booklet and illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this CD. The lavish booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne--beloved as musician, thinker and bicyclist-about-town--reveals the breadth and singularity of his vision.

BBC Review

Who else but David Byrne would attempt a 22-song disco opera about the intertwined lives of the Philippines’ controversial first lady Imelda Marcos and childhood confidant Estrella Cumpas? He’s got the socio-political conscience, theatrical vision, globalised perspective and unquestionably the vaunting creativity.

By comparison, his main collaborator Fatboy Slim – an artist known for little more than a nauseating crossbreeding of Jive Bunny and the Energizer Bunny – would seem some way out of his league. Indeed, Slim and cohort Cagedbaby’s clunky, heavy handed productions are the weak link here. Too frequently they default to hackneyed production tricks like dated filter sweeps, bubbling 303s and rudimentary, straight-off-the-vinyl percussion loops.

Unfortunately, the album’s other USP, a Gorillaz-trumping cavalcade of female contributors, regularly misfires too. Certain voices – Tori Amos, Candie Payne, Allison Moorer for example – either don’t fit the quirky backings or their delivery style sits awkwardly with the literal, show-tune lyrics required to drive the plot. Moreover, the repeated shifts in tone and multitude of voices serve only to confuse the twin narratives of Marcos and Cumpas, leaving the story arc tricky to follow and the characters impossible to emotionally invest in. The lavish booklet that accompanies the album helps, but with such proven talent on board these songs should really stand up for themselves.

Still, there are some fantastic moments: Róisín Murphy’s slinky disco turn on Don’t You Agree?, Santi White’s righteous strutting on Please Don’t and a striking, near operatic vocal from Shara Worden on Seven Years render the remaining tracks lumpen and conservative by comparison. And Byrne’s unerring melodic touch is everywhere; so much so, not even the MOR grind of Steve Earle can derail it on A Perfect Hand.

Sadly though, the prevalence of mid-tempo, Des’ree-lite ballads and inconsistent quality make this is an exhausting listen over 90 minutes. Fans might have been better served at first by a single disc of highlights, with the full version accompanying the inevitable stage show. The scale and audacity of Byrne’s ambition is hugely impressive, but as an album Here Lies Love is easier to admire than it is to enjoy. --Jim Brackpool

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Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By A. Mackenzie on 11 April 2010
Format: Audio CD Verified Purchase
This is a worthwhile listen. David Byrne's work is always interesting, but this is very listenable also. Although there is a different singer on each track, the album flows as a continuous piece of work, the mixture of beats and real instrumentation works well. The deluxe package is worth it only if you want the extras, the six videos are well cut & are a bit of a nostalgia trip. My only complaint is that I feel I paid too little for this immense package that clearly took a lot of work to produce.
Now Mr Byrne needs to release a DVD of his last tour and I'll be happy. He's got the footage, some of it appeared on a recent BBC programme about Brian Eno.
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2 of 2 people found the following review helpful By Mr. G. S. Walker on 13 April 2010
Format: Audio CD Verified Purchase
I couldn't agree with A McKenzie more. David Byrne has rarely put a foot wrong since his early days at CBGB's and this is no different. He is up there in terms of creativity over a long time with the likes of Bowie.....but more interesting.
YES he should put out a DVD of the Everything that happens tour; I saw him twice, the second time as a guest of one of the band in Barcelona and that tour was the "must see" gig of 2008/09

If you only know DB from Talking Heads do yourself a favour - BUY THIS
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2 of 2 people found the following review helpful By BobW on 4 May 2010
Format: Audio CD
I must admit I approached this album with some trepidation. After all 22 songs about Imelda Marcos didn't sound much like fun. How wrong I was!

David Byrne has clearly written this as a musical and he has achieved this magnificently using a mixture of dance music, catchy pop, and show tunes to create a very accessible and enjoyable musical that could run in the West End for years. It has all the right ingredients, lovely melodies, catchy arrangements and witty and perceptive lyrics. Andrew Lloyd Weber would probably have dragged 3 or 4 musicals out of this strong collection of tunes!

David Byrne has allocated the songs to a comprehensive range of mostly female singers including Florence Welch, Martha Wainwright, Cyndi Lauper, Roisin Murphy, Santigold and Natalie Merchant. This tactic works wonderfully as the voices have been picked to fit the songs and the singers are clearly enjoying themselves and put in great performances. David Byrne only sings on a couple of tracks towards the end of song cycle but he does give himself the "Talking Head" like song "American Troglodyte".

Most of the music is very catchy, melodic and upbeat although the mood gradually darkens on the second CD as the story unfolds. Fat Boy Slim has been brought in to work on the production and give the songs the dance/pop/disco feel that David Byrne wanted and this works very well.

This is not a typical David Byrne album and it may not appeal to some of his usual fans but if you enjoyed Mamma Mia, Evita, or Saturday Night Fever and like melodic catchy and haunting songs with witty lyrics then this is too good to miss. So don't be put off thinking this is too esoteric or difficult. Hopefully someday this will be put on as a show or a musical film and reach a wider audience. It deserves to be heard.
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Format: Audio CD Verified Purchase
Two clever guys at work here with the help of a bevy of classy female vocal stars and Steve Earle thrown in as the token male vocalist. Charts the rise of Imelda Marcos through the eyes of a close friend and confidante. Just the sought of quirky tale that would interest David Byrne. The booklet is put together with a love for the subject and is great to look at and read. I have not stopped playing it since it arrived. If you like Mr Byrne and his world vibes with a nice bit of electronica thrown in by that not so fat boy Norman, then I cannot recommend it highly enough.
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Format: Audio CD
I have followed David Byrne for years and am constantly amazed at his depth. This concept album is no exception. Knowing it was a concept album I was sure to read the insert before playing the CD. Had I not done this it would have been very fragmented and difficult to follow. The music is a theatrical piece of people I had only vaguely remembered as a child of the 1980s. The 2 CDs have not left my car CD changer since purchase. I can't see myself tiring of it anytime soon either. My daughters, 8 and 10, are just as thrilled with the music as I am. I have purchased for my 11 niece and sister too.
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Format: Audio CD
This is excellent, who would have thought a song cycle about Imelda Marcos and Estrella Cumpass featuring a cast of hundreds (well about twenty) would be so enjoyable. It's melodic, dancey in places and even though there's so many vocalists the joins don't show and you could almost think the songs are sung by the same two or three people. Sharon Jones does stand out for me because she injects some soul into the proceedings. There are great songs here and the narrative joins up.

I obviously bought this because it is a David Byrne collaborative album. However, if someone had played this to me blindfolded I would have no idea that it was composed by David Byrne (American Troglodyte and it's Moroderesque bassline touches not withstanding)just that it was a superior piece of work. There is enough variation across the album with some songs featuring orchestral or horn arrangements. Some of the songs are quite funky and some are disco(ish).

The production is perfect for the material and I didn't find it clunky whatsoever. In fact I was hardly aware of it. Sometimes you just want to listen to a song without wondering where the snare drum sound came from, where the drum loops were recycled from, or what synthesisers were used

However, I feel I have to address the disco, not disco question dredged up elsewhere. Does it matter if some tunes are disco or not. Is disco still a dirty word in certain quarters?
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