in Tongues gives new meaning to the word crossover.

The impish "Making Flippy-Floppy," the second track on side one, is an immediate tip-off that something new is going on here. "Everybody, get in line!" commands singer-guitarist David Byrne as the Heads step straight into a brassy strut counted off by a scratchy guitar figure and Chris Frantz' martial drumming. Ominous synth-bass effects undulate beneath the surface of the beat before Byrne cuts into a bright, saucy chorus that would make Prince envious. Wobbly, whining synthesizers and a walking bass-and-piano line keep up the funk, while violinist L. Shankar shoots the whole affair into a strange Far Eastern space with his brief raga-like solo.

The Heads have never cut the funk into finer, more fluent pieces. Nor have they ever displayed such a sense of purpose and playfulness (check out, for example, the murky boogie and Byrne's comic John Lee Hooker growl in "Swamp"). One detects here the influence of Frantz and his wife, bassist Tina Weymouth: on holiday from the Heads, they took the third-world forms and urban-funk gestures of Remain in Light and dressed them up with pop spangle and good humor on their Tom Tom Club LP.

Jerry Harrison's experiments with polyrhythmic keyboard layers on his solo LP, The Red and the Black, have also been incorporated into Speaking in Tongues. Along with P-Funkster Bernie Worrell and reggae keyboard specialist Wally Badarou, Harrison fortifies the beat with ahem color and contrapuntal muscle without complicating it.

But it is David Byrne's propulsive score for Twyla Tharp's 1981 dance piece The Catherine Wheel that may be the most important influence on Speaking in Tongues. The severe constraints of matching music to movement–of making music inspire expressive movement – forced Byrne to write and arrange his Catherine Wheel score with both crisp dramatic precision and provocative imagistic flair.

The nine songs on Speaking in Tongues – the group's first self-produced studio album – demonstrate that same precision and flair in remarkable combinations. On the surface, "Girlfriend Is Better" is a brassy, straightforward bump number sparked by Byrne's animated bragging ("I've got a girlfriend that's better than that She has the smoke in her eyes She's comin' up, goin' right through my heart She