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David Byrne may have been considered to be something of a control freak by his bandmates, but it is impossible to deny the appeal of his vision, or his ability to compose brilliantly catchy pop songs that were instantly appealing and yet thoroughly unique. “Little Creatures” was the band’s sixth studio effort, and it marked a stage of their development that demanded a change in perspective. Over the course of the previous five albums, the band’s thematic (and rhythmic) approach grew increasingly complex. For this album, a fittingly mature perspective is utilized, and the song structures are simplified to match the emotionally direct theme. Interestingly, it seems as though Byrne drew his inspiration for the album from the domesticity of his bandmates (drummer Chris Frantz and bassist Tina Weymouth were a married couple who were starting a family). Taken as a heartfelt portrayal of domestic life, “Little Creatures” succeeds in every possible way.
“And She Was” kick-starts the album, and it still sounds like a perfectly original pop song, portraying banal life in a manner that suggests every living moment as a potentially mystical adventure in discovery. If the world of pop music had any sense of adventure at all, this would have been a #1 hit single. As it stands, it is simply a great leadoff track with an equally great video (which is included in the dual-disc package, as is the video for “Road to Nowhere”). It also establishes the underlying theme of “Little Creatures.”
Domestic bliss and finding happiness in the simplicity of day-to-day life provides the inspiration for most of “Little Creatures”. The beauty and ultimate success of the concept lies in David Byrne’s ability to peel back the layers of complexity that he normally conveyed. Here, he lets go of the exaggerated oddball tendencies of his persona and takes inspiration from simpler themes. As a result, he appears to be comfortable in his own skin instead of twitchy, and the songs suggest satisfaction in a manner that would have seemed impossible a few years earlier. “Perfect World,” “The Lady Don’t Mind” and “Creatures of Love” all capture this aura of satisfaction, and this is rendered all the more compelling when the marriage of Frantz and Weymouth is taken into account. The overt playfulness of “Stay Up Late” seals this impression, with its imagery of a family’s obsession with their brand new “little creature”. “Road to Nowhere” ends the album with a positive existential perspective on life’s journey, and if you’re paying attention and allow yourself to be captured in its swell, you might derive a sense of meaning and reason to live that surpasses those offered by most organized religions – and that’s not too shabby for a simple pop album, is it? A
Grade: 
 
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