Remain in Light attained widespread acclaim from critics for its sonic experimentation, rhythmic innovations, and merging of disparate genres into a cohesive whole. The album reached number 19 on the US Billboard 200 album chart and number 21 on the UK Albums Chart, and is oftenly considered Talking Heads' magnum opus. In 2017, the Library of Congress deemed the album "culturally, historically, or aesthetically significant" and selected it for preservation in the National Recording Registry.
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". Byrne also wanted to escape "the psychological paranoia and personal torment" that he had been feeling and writing about in New York. Instead of writing music to Byrne's lyrics, the group performed extended instrumental jams, using the Fear of Music track "I Zimbra" as a foundation.
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. The band and Eno experimented with the communal African way of making music, in which individual parts mesh as polyrhythms. Nigerian musician Fela Kuti's 1973 album Afrodisiac became the band and Eno's template for the album. According to Weymouth, the emergence of hip-hop made the band realize that the musical landscape was changing. Before the studio sessions began, the band's friend 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".
Recording sessions started at Compass Point Studios in July 1980. The album's creation required additional musicians, particularly percussionists. Talking Heads used the working title Melody Attack throughout the studio process after watching a Japanese game show of the same name. Eno's production techniques and personal approach were key to the record's conception. The process was geared to promote the expression of instinct and spontaneity, not overtly focusing on the sound of the final product.
Sections and instrumentals were recorded one at a time in a discontinuous process. Loops played a key part at a time when computers could not yet adequately perform such functions. Talking Heads developed Remain in Light by recording jams, isolating the best parts, and learning to play them repetitively. The basic tracks focused wholly on rhythms and were all performed in a minimalist method using only one chord. Each section was recorded as a long loop to enable the creation of compositions through the positioning or merging of loops in different ways.
The tracks made Byrne rethink his vocal style and he tried singing to the instrumental songs, but sounded "stilted". Few vocal sections were recorded in the Bahamas. The lyrics were written when the band returned to the U.S., in New York City and California. Harrison booked Talking Heads into Sigma Sound, which focused primarily on R&B, after convincing the owners that the band's work could bring them a new clientele. In New York City, Byrne struggled with writer's block, Harrison and Eno spent their time tweaking the compositions recorded in the Bahamas, and Frantz and Weymouth often did not show up at the studio. Doubts began to surface about whether the album would be completed, which were assuaged only after the recruitment of guitarist Adrian Belew at the request of Byrne, Harrison, and Eno. Belew was advised to add guitar solos to the Compass Point tracks, making use of numerous effects units and a Roland guitar synthesizer. Belew performed on the tracks that would become "Crosseyed and Painless", "The Great Curve", "Listening Wind" and "The Overload"; in 2022, he recalled that "all of [his] parts were done in one day".
Remain in Light has been variously described as new wave, post-punk, worldbeat, dance-rock, art pop, art rock, avant-pop, Afrobeat, and psychedelic funk. Byrne included a bibliography with the album press kit along with a statement that explained how the album was inspired by African mythologies and rhythms. The release stressed that the major inspiration for the lyrics was John Miller Chernoff's African Rhythm and African Sensibility, which examined the musical enhancement of life in rural African communities. Like the other tracks, album opener "Born Under Punches (The Heat Goes On)" borrows from "preaching, shouting and ranting". The expression "And the Heat Goes On", used in the title and repeated in the chorus, is based on a New York Post headline Eno read in the summer of 1980, while Byrne rewrote the song title "Don't Worry About the Government" from Talking Heads' debut album, Talking Heads: 77, into the lyric "Look at the hands of a government man".
The "rhythmical rant" in "Crosseyed and Painless"—"Facts are simple and facts are straight. Facts are lazy and facts are late"—was influenced by early hip-hop, specifically Kurtis Blow's "The Breaks", which was given to Byrne by Frantz. "Once in a Lifetime" borrows heavily from preachers' diatribes. Byrne has described the album's final mix as a "spiritual" piece of work, "joyous and ecstatic and yet it's serious"; he has pointed out that, in the end, there was "less Africanism in Remain in Light than we implied ... but the African ideas were far more important to get across than specific
The first side contained the more rhythmic songs, "Born Under Punches (The Heat Goes On)", "Crosseyed and Painless", and "The Great Curve", which include long instrumental interludes. "The Great Curve" contains extended guitar solos by Belew, the first contributions that he made during his day in the studio.
The second side featured more introspective songs. "Once in a Lifetime" pays homage to early rap techniques and the music of the Velvet Underground. The track was originally called "Weird Guitar Riff Song" because of its composition. It was conceived as a single riff before the band added a second; Eno alternated eight bars of each riff with corresponding bars of its counterpart. "Houses in Motion" incorporates long brass performances by Hassell. "Listening Wind" features Arabic music influences, with Belew adding textural content via the Electric Mistress and " The lyrics, meanwhile, sympathetically portray an anti-American terrorist who engages in bombing campaigns in response to American settler colonialism in his home country. Closing track "The Overload" features "tribal-cum-industrial" beats created primarily by Harrison and Byrne alongside Belew's "growling guitar atmospherics".
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