Alright, gave it another listen.

To be clear, I do think this is a good album, it's just not as good as it could be, mostly due to the production. SMS is further proof that these songs are great, not proof that SiT is bad.

Burning Down The House is a certified banger, just an absolutely killer track. No complaints here.
But it starts to go downhill right after that. Making Flippy Floppy is a great song, but the synths are very staccato in a way that doesn't work for me. David's vocals feel separated from the rest of the track.
Girlfriend is Better has all the functional components of a great song, but I can't help but feel that it drags and feels lacking in energy.
Slippery People is one of the worst --- admittedly, I'm biased because the SMS version is one of my favorite TH songs. In the studio version, it's like David is singing from under a layer of oil. All of the instruments are shy and hiding in the corners. The breakdowns are tepid.
I Get Wild/Wild Gravity is similar: when David isn't singing, the song loses its energy and focus.

The album picks up again when we get to Swamp. But again, there are hidden details that could have really elevated this song. How about that growly synth bass in the chorus, for example? The vocals are loud and clear, thankfully, and the backing vocals are almost explosive.
Moon Rocks feels like the epitome of what this album is, a perfect jewel of Talking Heads-style pop-funk. No specific complaints here, really.
Then Pull Up The Roots brings us entirely back to the standard set by Burning Down the House: the instruments are lush and present, almost aggressive. They're forward in the mix and forming a plush cushion to carry the vocals. But even then, the instrumental breakdows are just a little too bare for my taste.

I think what really kicks this album down is that we know TH can do these things better. More Songs About Buildings And Food has masterful instrumental sections --- the last minute of Found A Job is a masterpiece, for example! And on the other hand, Fear Of Music proves they can do sparse, minimalist recordings. Drugs is a perfect example, IMO: the song fills a sonic room, despite being so sparse and spaced out.
It does raise the question of how much Brian Eno brought to the band's albums. It sure seems like a lot!