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

(+) Yeah! (+)

My opener ranking:
Everything In Its Right Place
Bloom
Planet Telex
You
2 + 2 = 5
15 Step
Airbag
Packt Like Sardines in a Crushd Tin Box

Airbag is still in the top half of all Radiohead songs. Probably.

EIIRP is amazing, and they kill it live.

Glad You is being shown some appreciation.

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SuperNiceDog shoots the lights out

I think genres are very fluid and subjective but at the same time I'm perplexed anyone would place OK Computer and In Rainbows in separate ones.

For me, though, every Radiohead album besides Kid A is a rock album of some description, and even then I don't think any other blanket term suits it better. They've certainly never made an album I'd describe as primarily electronic, which would seem like the obvious alternative unless you include ridiculously vague classifications like "alternative".

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

15 Step in particular uses very electronic-sounding drum sampling, and has an otherwise "electronic" feel to it.

Airbag sounds like a 90's rock song.


No need to overcomplicate this.

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

also also

Openers:

Bloom > 15 Step >> 2+2=5 > EEIRP > Airbag > Packt >> You > Planet Telex

Closers:

LIAGH > AWATD >> MPS > Street Spirit > Videotape >> Separator > Blow Out >> The Tourist


...and in general the closers are way way better (I'd put Videotape above 15 Step)

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

yeah but you were talking about the openers in reference to their albums, not the songs themselves

15 step is about as electronic as in rainbows gets (besides maybe videotape), and i don't think it's less of a rock song than say, climbing up the walls

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

now this is a good ranking:

Openers:

Everything > Airbag > 15 Step = 2+2 = Bloom > Packt > You > Telex

Closers:

Street Spirit > Wolf at the Door > Tourist = Glass House = Separator > Blow Out > Motion Picture > Videotape

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Openers:

EIIRP > Airbag > 15 Step > Planet Telex > You > Bloom > Packt > 2+2=5

Closers:

Separator > Street Spirit > The Tourist > LIAGH > MPS > AWATD > Videotape > Blow Out

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

GrapefruitKing posted...

now this is a good ranking:

Openers:

Everything > Airbag > 15 Step = 2+2 = Bloom > Packt > You > Telex

Closers:

Street Spirit > Wolf at the Door > Tourist = Glass House = Separator > Blow Out > Motion Picture > Videotape

skipped planet telex bro

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

Closers

Street Spirit (Fade Out) > A Wolf at the Door >> Motion Picture Soundtrack > Videotape >> Life in a Glasshouse > The Tourist > Separator

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YES! GO BOSTON! - Naye

...no he didn't!

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

From: Mershaaay | #108

GrapefruitKing posted...

now this is a good ranking:

Openers:

Everything > Airbag > 15 Step = 2+2 = Bloom > Packt > You > Telex

Closers:

Street Spirit > Wolf at the Door > Tourist = Glass House = Separator > Blow Out > Motion Picture > Videotape

skipped planet telex bro

no he didn't

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http://www.youtube.com/watch?v=qSOC87NkmXc

CherryCokes posted...

From: Mershaaay | #108

GrapefruitKing posted...

now this is a good ranking:

Openers:

Everything > Airbag > 15 Step = 2+2 = Bloom > Packt > You > Telex

Closers:

Street Spirit > Wolf at the Door > Tourist = Glass House = Separator > Blow Out > Motion Picture > Videotape

skipped planet telex bro

no he didn't

whoops

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

From: Mershaaay | #098

quit being a snob)

this is like telling cokes to stop breathing

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

I'd say that it's not my fault that I'm better than you, but I've really worked hard to be better than everyone, so I'm gonna go ahead and take credit.

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*Unpopular opinion warning*
Motion Picture Soundtrack and Videotape are the worst tracks on their respective albums (well, except Treefingers)

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Videotape is 5th or 6th best of the 10 on In Rainbows, I think.

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(11:27:20 PM) Cokes: brewing beer tomorrow woo
(11:43:44 PM) Luster: OMG, Cokes is going to make moonshine.

GrapefruitKing posted...

*Unpopular opinion warning*
Motion Picture Soundtrack and Videotape are the worst tracks on their respective albums (well, except Treefingers)

I actually agree with this, except I really like MPS. I just can't think of any song on that album that's not as good as it.

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

In Limbo and Treefingers. Everything else is better.

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"30"

Separator...last...Cokes you lost me at hello!

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Realo won gold at the Sex Olympics with a BROKEN FRIGGIN NECK.-Voltch

MPS is the best song on Kid A and the second best Radiohead song after Let Down.

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Uninformed and unpopular opinions time, hoorah!

Openers:
15 Step > Airbag > 2+2=5 > Bloom > Planet Telex > EIIRP > Packt Like etc. > You

Closers:
Street Spirit > A Wolf At The Door > The Tourist > Separator > Videotape > Life in a Glasshouse > Blow Out > Motion Picture Soundtrack

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James - Board 8's Resident Warm And Safe, Slipper-Wearing User
& The Cream of Porcupine Tree Fanboyism

openers:
Everything In Its Right Place >> Bloom > Planet Telex > You > 2 + 2 = 5 >> 15 Step > Airbag >> Packt

closers:
Life in a Glasshouse > Separator > Street Spirit > The Tourist >> Videotape > Motion Picture Soundtrack >> A Wolf At The Door > Blow Out

all the closers are phenomenal. For my money, Radiohead does closers better than any band ever.

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SuperNiceDog shoots the lights out

I've always thought OK Computer would be better served if it ended with Climbing Up the Walls

But then, I've thought for a long time that Climbing Up the Walls is a song worthy of being played as the world ends.

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"go umass" - Naye

holy s*** I had never thought about it before, but yeah, OK Computer closing with CUtW would've blown my mind
then again, I have a hard time imagining The Tourist anywhere else on the album

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The one RH topic where I can't immediately rank everything, but I will say that anyone who put You over Planet Telex needs to listen to them back to back and seriously re-evaluate their opinion.

As for OKC re-workings, scrap Fitter Happer, make The Tourist the seventh song, CutW the eleventh song, close with Lift. I think that would do a lot to highlight the blistering immediacy of...

Electioneering

Studio version -
Leno -

...seeing as how it would be framed as a brooding retort to the albums now expansive seventh-inning stretch and the supposed 'final fit' before the docile glow of No Surprises, instead of acting as a jolt of life after the negative experimental halt of Fitter Happer and retroactively being neutered by the one song that achieves Electioneerings' goal on this album better than Electioneering does. Of course, in my fantasy the album ends with Lift so the closing line is "lighten up squirt", Thom referencing himself instead of...Thom screaming like a madman. Which would be a great way to end the album, it's be really gripping but it would make the album a whole lot more depressing. But I do like the way The Tourist lyrically proceeds right into Airbag...maybe in the end I wouldn't change a thing.

The song's tumbleweed showdown intro is probably an Ennio Morricone nod, coupled with the title the stage is set for political showdown or as Thom has described it "a preacher ranting in front of a bunch of microphones". The persistent cowbell only fuels the satire of the political system, as the 'preacher' rants "when I go forwards you go backwards and somewhere we will meet" as separate guitars are simultaneously moving forwards and backwards it makes for a clever and biting indictment of a broken system in which political gain leads to lobbies being represented more than voters. And suffice it to say the IMF has done enough to merit contempt over its duration, though don't know where cattle prods specifically figure in. The imagery is all that's required, really.

Musically, this is about as "traditional rock" as it gets, Thom's simple riff is doubled by Ed and Jonny uses the opportunity to solo harder than anything this side of Paranoid Android. For once there's no rhythmic trickery at work here, the only significant harmonic interpolation comes in the form of the tremelo-picked breakdown, leading up to a classic Greenwood guitar frenzy of muting the down beat super hard right before letting that slicing chord ring out on the up beat. To this day nobody has mastered the art of muting a guitar like Jonathan Greenwood, something about his ferocity when shutting the guitar up is just as effective as making it scream out. He's a percussive player, in many respects.

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Other than Jonny unleashing his persona everywhere the song is very straightforward, relying almost entirely on the vigor of the bands performance to hold up rather than on the less fickle merits of cerebral awe that solidifies much of their later work. The studio performance is appropriately vicious, the distortion achieved here is white hot compared to any other tone on Ok Comptuter (or...their catalogue really). The live versions require a little extra Thom juice and a spankin tard-out solo closer to really sound special, Ed always contributes some nice vocals and Phil's energy is really gonna decide things as well considering how obvious his beat is. They have room to get dynamic here, in a relatively accessible way. It's a good song that is a little overshadowed by the broader scope of its peers, this is one that works outside the album context better than it does within, which hurts to say because it centralizes such a glaring flaw in my favorite album of all time.

7.5/10

Pyramid Song
Airbag
Where I End And You Begin
The National Anthem
In Limbo
Karma Police
Everything In Its Right Place
A Wolf At The Door
Electioneering
Fake Plastic Trees
Jigsaw Falling Into Place
Little By Little
Videotape

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The Tourist is the best closer for sure

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

The Tourist should be nowhere else on the album but the end. CutW's tension gets resolved beautifully by having No Surprises follow it.

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SuperNiceDog shoots the lights out

I dunno, I think there's a sense of finality to CutW, and I think having that tension hanging at the end would be great - nothing resolves smoothly in life, after all

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YES! GO BOSTON! - Naye

albums do

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Yeah, because of some misbegotten sense that they should.

They don't need to.

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Sophisticated ignorance, write my curses in cursive

OK Computer doesn't end

it just loops!

openers

Everything in Its Right Place > 15 Step > Airbag > 2+2=5 > Packt Like Sardines in a Crushd Tin Box > Bloom > Planet Telex

closers

Motion Picture Soundtrack > Life in a Glass House > Street Spirit > Videotape > Wolf at the Door > The Tourist > Separator

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all you need

Ugh, I wish they gave more time to edit. My super late night writing makes me sound like an insane person. Or a foreigner.

I'll definitely do Separator tonight and try to kick this back into high gear on my open saturday - production petering out is also the death knell of a B8 writing project.

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[This message was deleted at the request of the original poster]

It's easy to see why it'd be a closer in theory - it has the quality of being the Anti-RH song that defines many of their album closers. It's cut from a slightly different cloth than the rest, in this case emotionally it's far more upbeat and resolute than most of their material. This is in part because of Colin's obvious harmonic input and the clarity of the drum sample (the studio version avoids any variation whatsoever - a statement perhaps in contrast to the polyrhythmic, ornamented percussion onslaught of the first five tracks). They play around with it a lot more on the tour which is cool too. The acoustic version from the Corn Exchange suggests the songs genesis was looping a guitar, which has become an effective mode of writing for Mr. Yorke although he's just as likely to begin to despise it as soon as it becomes too comfortable. Of course, the end here feels incomplete without the grand guitar wash outro - three days ago I might have ranked this song the lowest yet but I forget how uniquely resolute that ending is. I like it for now.

7.5/10

Pyramid Song (10)
Airbag

Where I End And You Begin (9.5)

The National Anthem (9)
In Limbo

Karma Police (8)
Everything In Its Right Place
A Wolf At The Door

Separator (7.5)
Electioneering
Little By Little

Fake Plastic Trees (7)
Jigsaw Falling Into Place
Videotape

For some reason I had LBL under some sevens when I clearly proved it was .5 better than that.

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Separator

Studio Version -
From the Basement -
Cambridge Acoustic -

This song is in a strange spot for me right now. Foresight tells me it's a slow grower with high reward, maybe it's that I actually watched the From the Basement performance just now for the first time in months and was more engaged than I'd ever been with the song. I never noticed the rhythm guitar at the end is syncopating the chord sequence - Thom's propensity to do that should have been a dead giveaway, of course I only realized by watching him - his guitar is so affected it aurally comes across as as if weren't even strummed it all. Jonny and Ed's contributions toward the end promote the final meandering, undulating soundmass that draws from the same fever-dream of Meeting In The Aisle, bringing a dazzling close to an album that is tragically short, leaving many listeners (initially myself included) with a sense of false closure that does Separator no favors. Of course, it kinda shoots itself in the foot with the "If you think this is over then you're wrong" line at the end of an eight song album. How could you blame people for thinking there was gonna be a part two? Though its not as if Thom were wrong - Supercollider and The Butcher were released as a post-album offshoot and the revelatory From the Basement sessions reveal The Daily Mail and Staircase to be essential to the vitality of the perception of the album as a whole, which still only leaves one to wonder why TkoL proper resolves so soundly and convincingly on Separator without even having one of the four actual conflicted/frustrated songs to resolve from (TAMTW, Butcher, Staircase, Daily Mail). The high point of conflict on the album they gave us is Feral, and despite that songs remarkable build of energy and frenzied drum programming, the conflict it presents gets unwound in Lotus Flower, frozen underwater in Codex, and dies peacefully in Give Up The Ghost. Separator in context feels like a contented encore after the album ended on song seven after having forgotten what it was all worked up about three songs ago anyways.

And the From the Basement performance fixes this, both by achieving execution and slotting the song into a much more rewarding context, ironically Thom chose the songs placement merely as a response to the question "uh what haven't we played yet?". Perhaps his response carried some forethought, we'll never know for sure but its hard to argue with Separators place in the FTB performance as a midpoint between two halves of the album. It closes an arc in the first half and lyrically makes sense in the middle - the lines about being free of some great burden and a woman blowin his cover lead into Lotus Flower and out of Feral quite well (all three song that lyrically tie in to In Rainbows conflict of infidelity and love. Resolve to open relationship doesn't come more clearly than "I'm not yours and your not mine and that's all right please don't judge"). Phil and Clive keep it just like the album here - minimal variation on the beat and Colin is moving but staying directly at the center of focus around an uncharacteristically major setting.

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ugh separator is the best radiohead song ever

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SephirothG, channeling awesomeness from Mershiness.
The Resurrection

Go To Sleep (Little Man Being Erased)

Music video -
Earls Cours '03 -
Newark '12 -

For as played out as the word 'swag' has become in the hands of white america it's worth noting that Go To Sleep is the song that broke Radiohead from their Kid Amnesiac anti-rock antics, in Ed O'briens words, the band had "learned to let the guitars swagger again". The band was obviously eager to go back to their roots in three-guitar alt-rock, here a decade wiser than Pablo Honey they achieve a sort of "wish I could be fifteen again with the knowledge I have now" fantasy about their own adolescent musical career. The lyrical content? A rumination about death, of course. Sure, there's a small measure of political/social paranoia in the loonies and monsters taking over, probably thrown in courtesy of Thom's magical sorting hat for wizard non sequiturs as per Hail to the Thief's 'collage of cultural baggage' motif. The line "this is how I get sucked in over my dead body" almost comes across as self-chastise over mortal obsession, the rest of the song a sinister or even cynical acquiescence to death.

The intended irony here is that the song sounds so lively compared to their previous two albums, of course it slots in as the fifth song on Hail to the Thief (one can't help but assume that's partly because it begins in 5/4) so at this point in the catalogue at least 2+2=5 has shown RH can rock again, but Go to Sleep is the next legitimate contender to have actually been the opening song, along with There There. It certainly kicks up a storm immediately following the more conceptually wind-driven Backdrifts, the song that drags the album's pace considerably by being overlong (Band members have also mentioned that HttT needed pruning in hindsight, without naming songs specifically. It is anyone's guess why they continue to entertain The Gloaming literally every single night on tour when Go To Sleep is relegated to 'rare fan-favorite' status. Where I End and You Begin doesn't even get played anymore).

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This is another interesting one rhythmically, there's surely 5 beats to the measure but the emphasized guitar notes effectively split that beat in thirds, creating the same on/off syncopation effect that drives Myxomatosis through its treacherous slipstream. In Go To Sleep, the same 'slipstream' effect deploys only while the guitar is ascending up fifths in the All I Need bass fashion, giving every other measure the feeling of lift as the rhythmic ground seems to fall out from under the melodic ascent over and over again. This cyclical tension is made an upward spiral by the dynamic additions throughout - Phil drum's hit like a defibrillator, all guitars and the bass systematically continue to shift up octaves and pretty soon Ed's cooing a rising melody as Thom ramps up "I'm gonna go to sleep and let this wash all over me!". The transition to 4/4 here is seamless and a great release of tension. The song is now free to groove and 'swag', Colin comes to the forefront in that respect and reminds everyone that this is a jam band when he is in charge, until his brother decides to send his guitar through a max/msp patch he created (consider it the Autechre instrument) and glitch the song apart. Figures that he'd write a patch that seems to tremelo pick at different rates for him. It doesn't make it a genius solo, just an incredibly fun performance idea and silly/awesome sound. Don't take the band too seriously.

Because if you do then you'll eventually be reminded of all their embarrassing music videos, Go To Sleep being no exception to the cringe-worthiness of their video canon. Thom is rendered in PS1 graphics emoting on a park bench while some buildings crumble and rebuild, I guess. It doesn't mean anything, it's not appealing to look at. I'm prepared to forget about it again.

The live performances, thankfully, negate any bad vibes the video leaves. The light show of the 2012 tour makes every song special and they certainly nailed it here in Newark after not playing it for some 8 years or so - but the real gem is the Earls' Court performance. It was the grand finale of their '03 tour, in the heat of the HttT era frenzy and energy, many definitive performances come from this show, Go To Sleep being one of them. You can tell they have their hearts in it on this night, Thom's energy is legendary and the recording fidelity is golden. This is the rock band they were destined to become, no matter how much they tried to avoid it.

9/10

Pyramid Song (10)
Airbag

Where I End And You Begin (9.5)

The National Anthem (9)
In Limbo
Go to Sleep

Karma Police (8)
Everything In Its Right Place
A Wolf At The Door

Separator (7.5)
Electioneering
Little By Little

Fake Plastic Trees (7)
Jigsaw Falling Into Place
Videotape

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ump

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holy moly save

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Subterranean Homesick Alien

Studio Version -
Hammerstein Ballroom '97 -
Cincinnati '12 -
Premier acoustic -

English irony is always so passive aggressive. If Bob Dylan's "Subterranean Homesick Blues" is lamentation of societies traps and pitfalls, Radiohead's "Subterranean Homesick Alien" is a complete rejection of society as a trap altogether. A call for some otherworldly being to whisk you away from Mundanity, Suburbia and fulfill universal wonder. On that subject, because it is such a popular idea that RH lyrics are all intentionally vague, it is worth noting that Thom openly longs to know what the meaning of life is in SHA. This may seem like a spontaneous musing but that short-sells how base the question is to humans, after all what other type of questions carry enough weight to merit extraterrestrial saviour fantasy depictions in the first place? In a way, the quest for the meaning of life was the destination point of the song's journey all along.

The imagery leading up to it is compelling, given the vivid cosmic spectrum waltz floating along. The fender rhodes oscillates a near-elliptic orbit and the heaven laser guitar sounds exclaiming the upper register combine to lull the listener into imagination land, and that's not the only treat that Jonny deals out here. He periodically squishes the frequency shape, I believe he's feeding a '75 Telecaster through a Roland Space Echo but I don't know what other pedals he's got it with and I think the guy was already rewiring his own guitars with extra modulations by this era. There's something he does at 2:47 to serrate the decay of the note as the tone twists and pitch bends ever so slightly - Only Dave Gilmour and Jeff Beck come to mind as peers who have that level of tone control on a guitar. And that's just one of countless little hair-raising moments that guy touches on for this song. Real genius.

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Ed provides less prominent but equally valid melodic counterpoint, Colin and Phil hold down a simple but classy 3/4 (mere coincidence they placed it as the third track on the third album?), Colin merely present for the melodically meandering verses (literally the entire verse is eight variations on a G chord) but animated in the chorus, which to this day is one of the most honest major key to-the-point choruses they've penned as far as the music goes. The sensory overload from effects and intensely positive vibes they're putting out contrasts with the lyric "I'm uptight, uptight". There's that English irony...

This song is sort of a rarity in a live setting, but it is not forgotten. The performance from the Hammerstein Ballroom around the time OKC came out is the best one that's close to the studio version. At 3:23 in the 97' video I believe Thom says "I'm drunk", which, as we all know from the studio performance of Planet Telex makes for a loose booze-energized vocal delivery from Thom, that's just speculation on my part but his performance here certainly justifies it. I'm sure just as well that the acoustics of the legendary Hammerstein Ballroom are aptly suited to the song's exploratory atmosphere so as to highlight the vocal reverb. The first-time-ever acoustic version has appeal for for being such a natural base platform for a song, though I suspect Jonny has already had his hands on the intro/outro sections at this point. Thom's voice goes a little Pablo Honey on us so it's thankful this song made it to OKC, on which his voice his perfect for every song. By comparison, it's most recent rendition from Cincinnati doesn't have the greatest audio source for the video, but it's clear that the biggest improvement is Jonny's ever further expanded freedom in whale sounds. And as soon as a better audio source comes out, it'll be apparent that Thom's switch to Grand Piano is a tour-wise move, considering the extra percussive nature of the band's recent reworkings. There's good quality videos of it at the Roseland Bowl in '11 but Jonny doesn't reach quite so far into space :/

9/10

Pyramid Song (10)
Airbag

Where I End And You Begin (9.5)

The National Anthem (9)
Subterranean Homesick Alien
In Limbo
Go to Sleep

Karma Police (8)
Everything In Its Right Place
A Wolf At The Door

Separator (7.5)
Electioneering
Little By Little

Fake Plastic Trees (7)
Jigsaw Falling Into Place
Videotape

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Oh hey I can nominate another one now... uh

Reckoner

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Congratulations to the Kentucky Wildcats, NCAA basketball champions!

What? The bass in Jigsaw is glorious! One of my favorites on IR

You know what I listened to IR on vinyl recently and it stood out more as the final reserve of energy before Videotape because the first half of the album floors me, I'm beginning to accept Faust Arp as a studio song with a string section AND its place on the album (as long as I never have to subject myself to the scotch mist video again), Reckoner heads up the second half in terms of quality, and then there's House of Cards, which is perfectly enjoyable but as the longest song at five and a half minutes on an album of songs otherwise succinct AND varied, it leaves a long stretch a little too thin and when the IR discbox came with the second disc and it has Down Is The New Up and Go Slowly and really I'm thinkin, why couldn't Go Slowly just have replaced House of Cards, that would have been a gorgeous close. And then there's a part of me that still thinks Go Slowly should replace Faust Arp and Down Is The New Up should replace House of Cards and maybe swap places with Jigsaw.

But House of Cards goes by and then there's that bass, it's way up front along with the drums on vinyl...and it totally saves the album's energy, reminds me Colin is my favorite member, and he...in a way preserves the Open Pick freeness of it, funking all over the scale and occasionally dropping directly behind Thom's vocal line as if he were mocking Thom right behind his back. He's certainly having a ball here, he even moves all over the chorus like a madman.

And THEN I see your post again and I'm like, god damn mother ****er was right the whole time.

For this, the song gets a

+.5

FROM NOW UNTIL I DEEM OTHERWISE

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hell yea

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bump

save

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bump

bump