Board 8 > Post Radiohead songs and I will rank/rate/writeup/obsess

(+) Yeah! (+)

One Radiohead song at a time people I'm not a machine I'm just an ok man with a plan and a problem, a real addiction to a poor lily-livered excuse for a rock band.

Oh, but I have the divine knowledge

I am your divining rod

the orb of observation

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Little By Little

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a wolf at the door

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Pyramid Song

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Little By Little

Studio version -
From The Basmenet -

The first thing that struck me upon the initial listen was how similar the bridge was to the bridge in Reckoner, at least in concept. You know, the "routines and schedules will drug and kill you" part? Totally serves the same 'brooding refrain from the groove' purpose as the "because we separate like ripples in a blank shore in rainbows" part from Reckoner. Thus my impression of LBL was always colored by the feeling that this had been done better before, despite that I actually like the lyric in LBL more. And the groove isn't bad either, the consistent change of tonal focus from D to Dm as the chords descend in the verse is somewhat offsetting, (which is totally appropriate at this point in the album) perhaps even more perverse is the change in syncopation throughout the song, making it hard to tell where the first beat begins unless you count it out the entire time (which I do on the regular and you'd imagine it'd detract from the listening experience but I think it totally enhances it). The chorus in this song is absolutely infectious no matter where the one is anyway.

But let's talk about the annoying aspects of Little by Little. First off it starts with that ridiculous rolling cowbell thing...now I don't mind that the cool complex bleeps and bloops are sparse here because honestly I'm jilted enough by the dark tonal shifts - but then there's this god damn comic rattle going on and it totally offsets what could be a really dense or dark atmosphere. I don't know if that's what they were going for but it's like contradicting the negative aspect of the song enough to make what was negative about it in the first place seem unwelcome rather than dominant, sometimes juvenile when it could be menacing. Secondly, it's mixed too damn soft.

Thankfully the cowbell is mitigated by the that (insert eastern string instrument here) rolling off those odd chords throughout. This is undoubtedly jonny's doing and it just screams hippie which is always endearing from the british. Like, what are you trying to make world music now? The sound is intriguing, though. Also the weird cloudy synth blob at the end of the bridge is relishable, probably Ed but I think he contributes guitar to this song so I could be wrong. Can anyone figure out what Thom's saying all cut up behind the "routines and schedules" bit? Might be important, I can't put my finger on it quite yet.

Finally we have the live version, and I'm defaulting to the FtB performance here because although I've heard some performances that upstage it, the videos don't deliver the proper sound quality to do it justice. And if you haven't seen the actual video of them playing it you should just watch the entire King of Limbs From the Basement session on AustinBrock's youtube profile. It is a revelation. Anyway, the primary difference on this version is Colin's prominent bassline which now drives the song and relinquishes it as a groovin jam vessel. You can tell everyone on that performance is into it and that gives the song a new vitality. Clive Deamer's addition also helps hold the metric map in place, allowing you to get lost in the chorus a little more. The younger Greenwood thumps across some pretty badass chords around 4:32 of this video before proceeding into a killer improv run down the scale ten seconds later. And if you're into any soul music, I swear to god in their live sets Colin will thrown down random soul basslines the keep the song jamming for a couple more bars after it traditionally ends - I saw him make a nod to Curtis Mayfield in person, and on the youtubes I believe I've caught him vamping James Brown and Sly and the Family Stone. He's my favorite member.

7.5/10

Little By Little

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A Wolf At The Door (It Girl. Rag Doll.)

Studio Version w/ lyrics -
Prague, 2009 -
Extraneous yet personally resonant soundcheck moment -
Cover by the auspiciously named "Amnesiac Quartet" -
Acapella version -

I got into Radiohead around the time Hail to the Thief came out. Now, for me this song was not an immediate favorite and HttT wasn't really on my radar as I was busy discovering OKC, Kid A, and Amnesiac. Even when I did digest everything else and devour their latest album, A Wolf at the Door never struck me as anything more than an ambiguous closer, akin to The Tourist. My opinion of both songs has risen dramatically since, but to this day I still can't claim that either are near the top of my list. Yet I know that each time I hear them I enjoy them at least as much or more than the last time I did depending on when the last time was and how much attention I'm paying. So it's entirely possible and quite likely that at some point in the future they'll end up being my favorite songs because of their longevity.

That said, I always approach this song with the subconscious acknowledgement that Jonny wrote it, which explains the aforementioned link to The Tourist (hey it's in 3/4 as well). For some reason the tone of the very first intro not does nit sit perfectly well with me to this day and I don't know why. It's too much like a harpsichord, and I don't know why that's a bad thing as a tone but the connotation to baroque music makes it seem...vaguely campy? Perhaps that's dark satire in england, I don't know. Thankfully Colin and Phil punch the song into a supple psuedo-bluesy waltz for Yorke to rant and ruminate over, a tactic lifted from Thom's top vocal influence circa 2003 - Angus Andrews of the Liars. I'm pretty sure the song Drum and the Uncomfortable Can had some impact on where Thom wanted to go with the closer of the most contrived, tense Radiohead album yet (Now that WIXIW is out and the Liars aren't so dire Angus starts to sound like Thom did on In Rainbows, it has become a feedback loop). Regardless, the lyrics and delivery therein of A Wolf At The Door are less a slice of straightjacketed grandeur and more of frenetic domestic resignation, if that makes sense. He has to protect to his family, **** is crazy in the world, society makes him feel detached, it's the usual Radiohead tripe and ultimately just wants to go "ooooooooohhhhhhh" at the end of the day, which is a fitting and touching moment of musical, uh, let's go with resignation again. Jonny is quite adept at affecting oblique emotions isn't he? The synth horns in the second chorus also hit a tender note within my soul right under Thom's deseperate and beautifully double-tracked "SSTEAL ALL MY CHILDREN" line, I get shivers nearly every time now. It's a shame ed doesn't sing it with him live for that effect, but Thom's vocal additions in the live versions are treats enough. Speaking of which, it's a wonderful and convincing song to hear live, it probably benefits more from the faster tempo during the rant sections, and the ending is always gorgeous.

8/10

A Wolf At The Door
Little By Little

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Everything in Its Right Place

Where I End and You Begin

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cool stuff, shame you don't love it quite so much as i do

can i go again? if so, videotape

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And if you don't know, now you know.

Pyramid Song

Studio version w/ lyrics -
Glendale, 2012 -

A couple weeks ago I tried to record myself doing a cover of this song, piano and singing and the gorram free ass recording program (Reaper, because for some reason Audacity won't pick up my mic - digital recorder - usb setup) rendered the thing in a higher, in between keys register and upon listening I vowed to burn the piano and never breathe audibly again. A proper version will be forthcoming when Digital Performer 8 drops and finally crosses over to the light side so I don't have to go buy a piece of crap apple computer to run the thing.

Ahem. Pyramid Song levitates near the top of any fan's canon, and my opinion is no different. Characterized by a refusal to resolve to D Major and more importantly the elusive beat, you'd be absolutely correct to hear it in 4/4 but as you'll notice in the youtube comments of the studio version above 3+3+3+3+4 = 16 beats and it's geometric implication certainly is compelling enough to at least lead one to believe that someone in the band heard the song that way. Phil especially seems to emphasize the 3/4 aspects when he comes in, his presence also kind of demystifies the overall 4/4 that Thom was hidin. Ed's effects are some of the best he's ever done (not to mention to minimalist harmony on the final 'nothing to doubt'), Jonny's string section carries the song out with a majesty befitting only the kings. This song is top 5 easily.

In a lesser sense, I think, Pyramid Song is also characterized by it's oasis landmark spot on Amnesiac, right after the traffic jam Pack Like Sardines and before the chunky beatdown of Pulk/Pull and the ensuing sea of haunt that is the rest of Amnesiac. It's an odd moment of zen, not only due to the piano's graceful cadence and the massive jazz-ballad super song it fuels but because of Thom's lyrics. Usually I don't care especially for Radiohead lyrics but honestly this performance affects the spiritual like no other in their catalogue. There's nothing to explain about them, they're just a straightforward yet somewhat romanticized account of spiritual healing via river, a common practice in both western and eastern religions. And for me, spiritual healing via that sweet sacred geometry. Pyramids are intoxicatingly mysterious and monolithic, I imagine many feel the same way.

As for the live version, of all the performances I've seen Thom has never gripped me with his vocal quite like he did in Glendale. It happens at the very end, as a big operatic yell in place of the string section as Jonny strums his guitar along with the piano rhythm. That waver in his voice is pretty pro, I'm by no means a voice expert but I bet his vibrato looks good on a spectrograph. In all seriousness, this is a Realo moment for me but I think that last bit of the Glendalde performance is the best the mans voice has ever sounded in his life. (the youtube commenter everythingithink is me) #1 Thom vocal performance of all time.

10/10

Pyramid Song
A Wolf At The Door
Little By Little

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Jigsaw Falling Into Place

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I always viewed Pyramid Song in F# Phrygian, which makes sense because it sounds egyptian and dark and it was called Egyptian song before that so uh yeah. Not that 'refusing to fall into D major' doesn't make sense because they're basically the same notes and well that's basically a good definition of a minor scale like Phrygian but.. I don't know where I'm going with this!

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I never really "got" Pyramid Song. To me it's a mid tier Radiohead song which means it's still really good, just not one of the best.

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i've come to view it as their best actually

which means it's like top 5 songs ever for me

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Karma police

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PhoneYoshi

The National Anthem

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You saved science, SuperNiceDog!
Congratulations to the Kentucky Wildcats, NCAA basketball champions!

tag

Fake Plastic Trees


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Warning, the self-destruct system has been activated, all personnel should evacuate immediately, 5 minutes to detonation.

Airbag

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Let's get drunk and make bad decisions
"Life is a bunch of stuff" -- Whiskey Nick

In Limbo

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Electioneering

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We can't stop here. This is bat country.
Brace for the G's, and fast heel-toe work.

Dark Silvergun posted...

tag

Fake Plastic Trees

it's not like he doesn't know the song

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Let's do my favorite Radiohead song: Separator

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

Go to Sleep

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~<_<

WingedInsignia posted...

Go to Sleep

amazing song! (i would say this of most radiohead songs but this one is one of hail to the thiefs best)



I guess if we can rec another song: Subterranean Homesick Alien

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go slowly

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Last Flowers To The Hospital.

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Board 8 Survivor Season 2 Runner Up

The Tourist

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http://www.youtube.com/watch?v=npHDxSvwCE0

Let's go with the best song on King of Limbs: Lotus Flower.

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Yes, you can rec again if I ago through yours.

I always viewed Pyramid Song in F# Phrygian, which makes sense because it sounds egyptian and dark and it was called Egyptian song before that so uh yeah. Not that 'refusing to fall into D major' doesn't make sense because they're basically the same notes and well that's basically a good definition of a minor scale like Phrygian but.. I don't know where I'm going with this!

But I'm glad you brought this up because I may have been misleading, I'm not suggesting that I want the harmony to end up on D and characterize it as a more western scale, I've just always noticed that it was a possibility that a less compositionally developed Thom might have played on - I don't think he writes with academic knowledge of scales but I imagine he instinctively understands the divide between the scale sounding eastern and western. It's entirely possible Thom never thought to put his left hand on D but doubtful since D is omnipresent throughout I believe every chord, just not as the root note of any one chord. It would have been an easy and effective card to play and it shows compositional maturity that It is never dealt. I've noticed this reserved tactic across many songs from the Kid Amnesiac period, which brings us to our next song...

Everything In Its Right Place

Studio version with lyrics -
Glastonbury 2003 -
Brad Mehldau Trio cover -

Another rhythmically vexing song, some hear it in 5/4 and some hear alternating bars of 6 and 4, either is correct since the both add up to ten beats (count em) where Thom's lyric ends up in the right place rhythmically on the one, yet the odd rhythm makes the chord progressions feel like loops themselves, each of the three sections feels unable to escape the needle in the groove restarting the song over and over, yet the sections all compliment each other in terms of harmonic tension, lending the song a quality of seeming overall like it actually is in its right place but the actual in-listening experience is one of constant mild tension. Still, I would argue that the song only achieves a rhythmic ideal in concept, 10 beats putting everything in its right place on the 01 song of a 10 song album. If anything prevails on the album version it's the electronic manipulation of Thom's vocal, turning his trance mantra into a psychodrama monologue with black and white vision. What was that you tried to say? Notice the snippets of him being cut to say "Kid A" at the very beginning, or I'm sure you already have. I still haven't been able to crack the lyrics on this once - it's typically vague. EEIRP is a wonderful creative shift for the band and display of impressive dynamic control with the technology they only O.K.'d in 97' (doho).

The live version is enjoyable, it's great that Radiohead has a near trance song to bust out just for the sake of it, the sampling effects are really cool and the countless random covers/rarity intros to the song are priceless, and there are far too many too go through them all. But the 2003 Glasto version is pretty good, and the studio version is really where its at for me anyways. I've seen it live a couple times and it's sometimes strange to have the song play minutes after everyone's walked off stage and just let it loop there. Effective, but you can never help but feel sad at the close of the night. Brad Mehldau is probably the best type of person to be covering Radiohead songs but this one's almost too easy. And really they just make it their own thing anyways but it's still cool.

8/10

Pyramid Song
Everything In Its Right Place
A Wolf At the Door
Little By Little

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Where I End and You Begin. (The Sky Is Falling In.)

Oh and Everything In Its Right Place is a top 5 Radiohead song for me now. I really love the dissonant, jazzy and moody chords used all the way through

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Seginustemple posted...

But I'm glad you brought this up because I may have been misleading, I'm not suggesting that I want the harmony to end up on D and characterize it as a more western scale, I've just always noticed that it was a possibility that a less compositionally developed Thom might have played on - I don't think he writes with academic knowledge of scales but I imagine he instinctively understands the divide between the scale sounding eastern and western. It's entirely possible Thom never thought to put his left hand on D but doubtful since D is omnipresent throughout I believe every chord, just not as the root note of any one chord. It would have been an easy and effective card to play and it shows compositional maturity that It is never dealt. I've noticed this reserved tactic across many songs from the Kid Amnesiac period, which brings us to our next song...

True, but I myself wouldn't consider a shift to major to be all that less mature in writing. If it's done in taste I'm all for it, I love shifts in similar scales and do it myself all the time. Of course I don't consider myself to be a great songwriter, but still! >_>

That said, I agree that it would detract from this song in particular and many other Radiohead songs too. Kid A/Amnesiac-era Radiohead writing something in major would be exceptionally weird!

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Ryo8889 posted...

Where I End and You Begin. (The Sky Is Falling In.)

Already nominated it bro

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Oh wow I could've sworn...


You and Whose Army?

Where I End And You Begin (The Sky Is Falling In)

Studio version w/ lyrics -
Earls Court '03 -
From the Basement '07 -

Thom Yorke is so meta he wrote a song relating to everyone his inability to relate to anyone, and then he threatens to eat them, the filthy liars. I could care less if the song had lyrics because its deeper meaning is about Colin and Phil, but ultimately I can't deny that I relate to Thom's apparent feelings of disappointment and mistrust. The turbulent nature of the rhythm gives the song an constant urgency, combined with the dreamy ondes/guitar, gratifying yet downward spiraling bassline and lyrics about surrealities and destruction via ocean they evoke some powerful imagery that matches almost any they have summoned. Then they take a turn for the huh when colin goes for an even more up-pumping bassline and Thom goes for even even darker lyrics about cannibalism! Definitely a classic Radiohead moment, filled to the brim with glory on all fronts. And they like all great RH moments, they end it not a moment too late. They play more conservative as they get older with them, the moments.

Live, the Earls' court performance is phenomenal. A faster tempo is nothing new but this one burns like I've never heard before, the distortion is up way loud too. The whole concert was great but this stands out as the definitive version of one of the best songs on that album, in my eyes. The From the Basement version is good too, I think I can see Thom miscue a chord change but it's not really audible, Phil's purple shirt is fantastic as always and Ed makes that one note + effect thing look like the sexiest job ever. It's a real shame they didn't play this song once during their 2012 tour of the states. Do they not care for it anymore, after only 9 years? Perhaps Thom isn't angry enough to sing that last bit honestly anymore...

9.5/10

Pyramid Song
Where I End And You Begin
Everything In Its Right Place
A Wolf At The Door
Little By Little

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Videotape

From the Basement, solo -
Hammerstein '06 -
From the Basement, band -

I briefly considered making this a one word review - overcooked. But my grudge against this song is far too petty and personal to be summed up that cleverly, and the song has too much history to pass by. Initially recorded by Nigel Godrich from the basement, Thom's first performance of this song to another human being (and all of us forever) was destined to be engraved in red blue and green, on videotape. Seriously, listen to this version. It's full of raw emotion and it comes across very personally as a solo piano piece - not to mention knowing that this is like his first time showing anyone this song called videotape caught on videotape...I almost get a little misty eyed myself. It is the chronicled genesis of In Rainbows's closer, and in a way...a token of bad musical juju...

Then the band goes on tour and the song comes with a syncopated, guitar aided version that gets the crowd moving and shines a light as one of the most positive sounding and enjoyable new Radiohead songs. This is the version I was treated to in their 06 SD visit so I automatically had my heart set on it, it screamed album closer a mile away, it's about death, or more specifically being judged upon death via the universes videotape of your sins and deed in Thom's case very likely an affair as it seems to be the entire concept and conflict of IR. No seriously, check it

15 step - You used to be alright? What happened?
Bodysnatchers - Detachment, Alienation
Nude - Masturbation guilt
Arpeggi - Seductress interloper
All I Need - Toxic codependency
Faust Arp - Rationale of infidelity pt. 1: it's what you feel not what you ought to
Reckoner - Rationale of infidelity pt. 2: you are not to blame for bittersweet distractors, you can't take it with you
House of Cards - Admission of sexual interest in every female (friend)
Jigsaw Falling Into Place - Date rape
Videotape - I'm going to hell for that aren't I. Good day though.

Yeah, total mind-blinder. Anyway, apparently Phil and Thom ensue arguing over where the first beat goes for over a year, Thom wants all the piano chords to be an eighth note ahead of the beat (an idea that "deeply disturbed" Jonny) and they proceed to run the song through every parameter possible until they decide that Chris Martin, who Thom has come to nickname "Mr. Magpie" has stolen all the good ones. Then one day Nigel and Jonny were toying around in the studio while Thom was off saving the ecosystem and they decided to castrate any semblance of happy in this song and cast a rolling tape noise and half-buildup at the end just to really blue your ball for the end of their seventh album. What they came up with, and what for some reason Thom approved (Ed wouldn't be bothered for his opinion on this song as he was busy drinking coffee and grimacing into his scarf) is this



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It falls flat, oh sure it's musically a lot closer a metaphor for death now. It sputters and dies tragically before it can get its last stand. It's still somewhat effective but just knowing that the solo piano version has more real impact on the death front obsoletes this one, and the bombastic drums version of '06 obsoletes the program scalpel job here as well. Videotape's album version is a song that tried to have the best of both worlds and ended up with a firm claim to neither. The next From the Basement performance somewhat redeems this version of the song, at least they let Ed make some of the guitar noises that coated the original live version in light.

In a perfect world, the production job would have been saved for Codex.

7/10

Pyramid Song
Where I End and You Begin
Everything In Its Right Place
A Wolf At The Door
Little By Little
Videotape

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I gotta stop and edit more, there's some big three in the morning sentences up there

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Where I End And You Begin (The Sky Is Falling In)

Studio version w/ lyrics -
Earls Court '03 -
From the Basement '07 -

Thom Yorke is so meta he wrote a song relating to everyone his inability to relate to anyone, and then he threatens to eat them, the filthy liars. I could care less if the song had lyrics because its deeper meaning is about Colin and Phil, but ultimately I can't deny that I relate to Thom's apparent feelings of disappointment and mistrust. His performance here is intense and the raunchy guitarwork shows off his punkier side, but the rest of the band groove into a much grander funky territory. The turbulent nature of the rhythm gives the song an constant urgency, combined with the dreamy ondes/guitar and gratifying yet downward spiraling bassline they evoke some powerful imagery that matches almost any the boys have summoned on past records. After Yorke's personal bubble is burst and the house falls into the sea, the group takes a turn for the huh? as Colin goes for an even more up-pumping bassline and Thom goes for even darker lyrics about cannibalism. Definitely a classic Radiohead moment, filled to the brim with glory on all fronts, and like all great Radiohead moments, they end it not bar too late. They play more conservative as they get older with them, the good bits.

Live, the Earls' court performance is phenomenal. A faster tempo is nothing new but this one burns like I've never heard before, the distortion is up way loud too. The whole concert was great but this stands out as the definitive version of one of the best songs on that album, in my eyes. The From the Basement version is killer too, I think I can see Thom miscue a chord change but it's not really audible, Phil's purple shirt is fantastic as always and Ed makes that one note + effect thing look like the sexiest job ever. It's a real shame they didn't play this song once during their 2012 tour of the states. Do they not care for it anymore, after only 9 years? Perhaps Thom isn't angry enough to sing that last bit honestly anymore...

9.5/10

Pyramid Song
Where I End And You Begin
Everything In Its Right Place
A Wolf At The Door
Little By Little

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Now I anticipate the write-up for Jigsaw Falling into Place even more! I never interpreted the lyrics as a "date rape" so I'm curious as to your explanation.

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Videotape

From the Basement, solo -
Hammerstein '06 -
From the Basement, band -

I briefly considered making this a one word review - overcooked. But my grudge against this song is far too petty and personal to be summed up that cleverly, and the song has too much history to pass by. Initially recorded by Nigel Godrich from the basement, Thom's first performance of this song to another human being (and all of us forever) was destined to be engraved in red blue and green, on videotape. Seriously, listen to this version. It's full of raw emotion and it comes across very personally as a solo piano piece - not to mention knowing that this is like his first time showing anyone this song called videotape caught on videotape...I almost get a little misty eyed myself. It is the chronicled genesis of In Rainbows's closer, and in a way...a token of bad musical juju...

Then the band goes on tour and the song comes with a syncopated, guitar aided version that gets the crowd moving and shines a light as one of the most positive sounding and enjoyable new Radiohead songs. This is the version I was treated to in their 06 SD visit so I automatically had my heart set on it, it screamed album closer a mile away, it's about death, or more specifically being judged upon death via the universes videotape of your sins and deed in Thom's case very likely an affair as it seems to be the entire concept and conflict of IR. No seriously, check it

15 step - You used to be alright? What happened?
Bodysnatchers - Detachment, Alienation
Nude - Masturbation guilt
Arpeggi - Seductress interloper
All I Need - Toxic codependency
Faust Arp - Rationale of infidelity pt. 1: it's what you feel not what you ought to
Reckoner - Rationale of infidelity pt. 2: you are not to blame for bittersweet distractors, you can't take it with you
House of Cards - Admission of sexual interest in every female (friend)
Jigsaw Falling Into Place - Date rape
Videotape - I'm going to hell for that aren't I. Good day though.

Yeah, total mind-blinder. Anyway, apparently Phil and Thom ensue arguing over where the first beat goes for over a year, Thom wants all the piano chords to be an eighth note ahead of the beat (an idea that "deeply disturbed" Jonny) and they proceed to run the song through every parameter possible until they decide that Chris Martin, who Thom has come to nickname "Mr. Magpie" has stolen all the good ones. Then one day Nigel and Jonny were toying around in the studio while Thom was off saving the ecosystem and they decided to castrate any semblance of happy in this song and cast a rolling tape noise and half-buildup at the end just to really blue your ball for the end of their seventh album. What they came up with, and what for some reason Thom approved (Ed wouldn't be bothered for his opinion on this song as he was busy drinking coffee and grimacing into his scarf) is this



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http://www.wellhappypeaceful.com/wp-content/uploads/2010/11/nuclear_disaster.jpg

It falls flat, oh sure it's musically a lot closer a metaphor for death now. It sputters and dies tragically before it can get its last stand. It's still somewhat effective but just knowing that the solo piano version has more real impact on the death front obsoletes this one, and the bombastic drums version of '06 obsoletes the program scalpel job here as well. Videotape's album version is a song that tried to have the best of both worlds and ended up with a firm claim to neither. The next From the Basement performance somewhat redeems this version of the song, at least they let Ed make some of the guitar noises that coated the original live version in light.

In a perfect world, the production job would have been saved for Codex.

7/10

Pyramid Song
Where I End and You Begin
Everything In Its Right Place
A Wolf At The Door
Little By Little
Videotape

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Now I anticipate the write-up for Jigsaw Falling into Place even more! I never interpreted the lyrics as a "date rape" so I'm curious as to your explanation.

Haha that was originally my friend's assertion, I imagine in reality Thom would probably get a girl drunk in order to **** her and dramatize that in lyrics to make it sound like a date rape. But I'll get into that tomorrow, it's bedtime for me.

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I love Videotape but I can see how others wouldn't. It's not a very Radiohead song. It used to do nothing for me until I heard the Basement version and it hit me really hard. Now I love the album version too. I listened to the earlier versions later and they are also cool.

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How To Disappear Completely

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I completely agree with your Videotape write-up, it's also my least favourite on IR. Except for the last sentence: Codex is fine as it is!

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i wouldn't call it one of my favourite radiohead songs, but i think the album version of videotape is actually one of their most powerful statements. like, potentially top three.

also how anyone could think that song is about anything other than suicide is beyond me

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Giggsalot posted...

i wouldn't call it one of my favourite radiohead songs, but i think the album version of videotape is actually one of their most powerful statements. like, potentially top three.

also how anyone could think that song is about anything other than suicide is beyond me

I thought it was about just death in general, and his children remembering their father


But that's just me talkin

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

The From the Basement version is killer too, I think I can see Thom miscue a chord change but it's not really audible

Haha. Yeah, that F.

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Morning Mr. Magpie

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(11:27:20 PM) Cokes: brewing beer tomorrow woo
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