"This Must Be the Place (Naive Melody)" is a song by new wave band Talking Heads. The closing track of its fifth studio album Speaking in Tongues, it was released in November 1983 as the second and final studio single from the album; a live version would be released as a single in 1986. The lyrics were written by frontman David Byrne, and the music was written by Byrne and the other members of the band, Chris Frantz, Tina Weymouth and Jerry Harrison. Byrne intended the song to be a love song without the clichés of the genre. The parenthesized title refers to the simple ("naïve") construction of the song, which is framed on a sparse ostinato that lasts for the song's duration. This simplicity marked a departure for Talking Heads, which was known for its complex African-inspired polyrhythms and funk. Background Speaking in Tongues, Talking Heads' fifth album, was released on June 1, 1983 by Sire Records. It was produced by the band themselves after the group had parted ways with longtime producer Brian Eno. Composition In the "Self Interview" on the DVD of the concert film Stop Making Sense, Byrne states that it is a love song, a topic he tends to avoid because it is "kinda big." He also said of the song: According to the Stop Making Sense commentary track, the title "Naive Melody" refers to the music. On the recording, the guitar and bass each repeat an ostinato for the entire song. According to David Byrne, many professional musicians would not play a song written in that fashion, and that is what makes the melody naive. Byrne played the lead keyboard solo. Bassist Tina Weymouth stated in the liner notes of Once in a Lifetime: The Best of Talking Heads that the song was created through "truly naive" experimentation with different instruments and jamming. Weymouth played guitar, guitarist Jerry Harrison played a Prophet synthesiser (including the bassline) Wally Badarou used the same synthesizer to add the stabs, and Byrne switched between guitar and another Prophet synthesizer, the latter of which he played using the pitch modulation wheel and "campy" piano glissandos. Pitchfork later described the song as "an aberration for the Talking Heads. It was more of an exercise in understated musical hypnosis than polyrhythmic, Kuti-quoting funk, well-compressed instead of bursting at the seams, and (in its abashed way) it was a full-blown love song.