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#1051: Radiohead – Polyethylene (Parts 1 & 2)

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A long, long time ago, wanna say 2009, I listened to parts 1 and 2 of Radiohead’s ‘Polyethylene’. The track itself is a B-side that was originally released on the ‘Paranoid Android’ single in 1997. But in 2009, it was made available again on the new “Collector’s Edition” of OK Computer. These editions, also made for Pablo Honey up to Hail to the Thief, were considered to be something of a cash-grab devised by the band’s former EMI label and have since been rubbished by the band and many fans too. I listened to the track that one time, so it was like virtually hearing the song for the first time when it was then released again on 20th OK Computer anniversary, OKNOTOK release that came around in 2017.

Like its A-side counterpart, ‘Polyethylene (Parts 1 and 2)’ is also formed by apparently taking two seemingly separate pieces of music and putting them together to make one whole thing. But in this case, ‘Polyethylene’ starts off as a quiet acoustic number before faking the listener out and turning into a energized and emphatic full-on band performance. For the first 40 seconds, Thom Yorke calms us with some sweet dulcet tones and a sole acoustic take. What he’s singing about here is debatable, the lyrics in this section aren’t too decipherable either. Nothing new when it comes to Yorke’s enunciation in certain songs. Yorke abruptly stops, and a descending electric guitar run opens up the second part of the track with the rest of the band falling in not too long after. That guitar line acts as the main riff for the remainder of the song, and after each repetition of it comes the huge impact of the electric guitars and crash cymbals coming in together. A huge release of energy every time.

Here, Yorke’s vocals are a lot more clearer, though the lyrics read off like a list of items and slogans that he may have observed and taken a note of, rather than displaying a narrative or having a coherent theme throughout. That doesn’t matter all that much though, ’cause there’s a ton of feeling in the delivery. Also, during the first few measures of the verses, Yorke is singing and playing the guitar in 3/4 while the drums continue in 4/4 to have this polyrhythmic effect going on. I want to believe that’s a nod to the Beatles’ ‘Happiness Is a Warm Gun’ which also utilises the same feature for a moment or two. It’s known that that song was an influence on ‘Paranoid Android’, so why not this one too? I’ve come to really like ‘Polyethylene’ over the years, probably more than songs that made it onto their respective albums. Why it didn’t make it onto OK Computer, only the band will know, but with its B-side status the track lies low in the shadows, which makes it all the more special for those who go on to discover it.

#919: 747s – Night & Day

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I know. You’ve seen the title and you’re probably thinking “What?” and “By who?” I couldn’t blame you. 747s are one of those bands left in that huge pile of those who arrived during that big UK indie-rock movement of the mid-2000s and either disappeared or were forgotten about not too soon afterwards. This is one of two songs that I know by the band, and I only know those two because those were the ones that were shown on TV. Otherwise, there’s a great chance I wouldn’t have an idea this band existed. Luckily I caught this one sometime during a morning, and it’s stuck with me ever since. I’ll guess it would have been 2006 or so, because that’s when Wikipedia says the track was released as a single.

‘Night & Day’ is the opening track on the band’s only album Zampano. Was the band’s first ever single too. And to be fair, I would say it has everything you want in a piece of music that you would want to introduce yourself to the masses to. Great opening guitar line to set the mood, it comes back here and there throughout, and the bass guitar mirrors it to emphasise its melody. Those guitars have some fantastic tones to ’em too. The rhythm’s kind of buried in the left channel, which opens up the space to the lead guitar in the right that really carries the song’s momentum. Gotta give a shout-out to the chorus to, where the chord progression rises and builds some intensity alongside these backing ‘aah-aah’ vocals. There’s something about this track that also makes me think of those showtime tunes. A lot of jazz hand thrown about. I think there are a lot of seventh chords being used, maybe that’s why. Then again, I’m not even sure about that, so someone’d have to tell me. But around 2006, it was much different to a lot of the bands who were pretty much Arctic Monkey wannabes.

The track is about a seemingly fleeting relationship in which the narrator wants to make their partner happy and follow their own free will, while coming to the point that at some point they’ll split and go their separate ways. Doesn’t sound like there’s any ill will that’s meant or anything. You know you can get those songs that are a bit off-putting that way. But it’s one where the message is along the lines of “Well, these things happen and it’ll be okay,” which I’m all for. Of course I didn’t know this when I was 11, but 15 and a bit years gives you time to think about this stuff. But that’s as far as it goes with me and 747s. That other song by them that I know, I’m very sure played just the once on MTV2, and they were never heard from again. Didn’t have much of an effect as this one.

#896: Radiohead – Myxomatosis. (Judge, Jury & Executioner.)

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‘Myxomatosis’ may very well be the very first Radiohead song I ever heard. You may think, “Why that one?” Out of all of the tracks that the band have ever made, that’s a bit out there. Well, it’s because it was on the soundtrack of FIFA 2004, a game that I played almost every weekend when I was nine years old. EA Sports were on another level with their soundtrack picks back in the day. Have to say this song stood out from the many others that accompanied it in the the game’s background music. The child that I was, I had never heard a song like it before. The riff was nasty/strange, I thought it had a bit of a swing to it (which it doesn’t – it’s in 4/4, but I had no idea what time signatures were), and the singer had this low, relaxing delivery. It was sort of hypnotizing. And after enough times I was singing along to it whenever it popped up.

Obviously, there’s a huge irony about a nine-year-old happily grooving to a track that references a fatal disease that affected rabbits, but the music sounded too good. I remember the times of trying to find this song online, but music streaming definitely wasn’t a thing (at least not to the extent it is now), so all I could ever find were lyrics. Through finding those I then discovered that FIFA had actually censored some parts of the song and had cut a large chunk of it out. It was years until I listened to the full thing, I guess when I got Hail to the Thief as a present in 2010. Six darn years later. But by that point, my appreciation for Radiohead had grown immensely. In 2021, this song still stomps. It’s intense, it pummels, gives off such a menacing aura. I don’t know what it’s about, I can’t lie. I’ve had some thoughts, and my interpretation is that it’s a very, very dark take on touring and the media. The fans are the people twitching and salivating, the narrator talks about sleeping with whoever they like and how one woman in particular ‘ate him up for breakfast’. But at the end of it all, he ends up feeling confused and like a piece of meat. These are all just guesses on my part. In recent live performances, there are some extra lyrics that Thom Yorke sings that weren’t included in the album version. A particular appearance of these are in the band’s live take of the song in their From the Basement set in 2008. Sometimes, I even prefer that to the original. I’ll link it all below.

And that is it. That’s the ‘M’ section done. The calendar for this shows that I started posting for the M’s exactly seven months ago. I actually started on January 10th, and wrote each following post almost a month in advance. As I type to you, it’s the 7th August, and I’ve just had my second COVID vaccine. Hello from the somewhat distant past. Thanks for joining on this ‘journey’. Thanks to whoever’s been reading and liking and following. Makes all of these posts worthwhile; I’m glad it’s reaching people out there. The N’s will definitely arrive. But for now… a break’s needed. Bye, bye, now, Take care of yourselves.

#798: Supergrass – Mama & Papa

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Quite surprising to me that this is the first song from this album that I’m to do a post on. I’ve shared my interest in Supergrass a lot of times before, I thought I surely must have covered at least one track. But I haven’t, so here it is for you today. Supergrass’ self-titled album, their third, often referred to as the ‘X-Ray album’ because of its cover was released in the autumn/fall of 1999. I got it as a gift in… 2006, I wanna say. I’m really big on Supergrass. I don’t think there’s one dud in the band’s discography. X-Ray’s probably the one that I enjoy the least. Not because it’s bad. It doesn’t have the immediacy and the hooks like I Should Coco or In It for the Money. It’s a slow burner. A bit more experimental too. Though it does have some great songs on there, ‘Mama & Papa’ being one that I only really started appreciating a few months ago.

The track is the final one on the album, bringing things to a calm and kind of sad ending. Quite funny that after using a variety of instruments apart from your usual rock ensemble throughout the album, they close it out with an short and sweet acoustic number. After two false starts, it gets under way with a twinkling arpeggiated guitar chord and a misty ‘ooh’ backing vocal. Bassist Mick Quinn takes the lead vocal on here, singing about being alone in the park, looking up at the sky and missing his mum and dad. We’ve all been there. Usual singer and guitarist Gaz Coombes provides the harmonies and that aforementioned ‘ooh’ in the breaks.

On a live listening party for the album last year, Quinn guided Supergrass fans through the tracklist with quips and anecdotes about how each song was made. He didn’t say much about this one. Coombes was playing the track’s riff in the practice room and Quinn sung over the top. I was also listening during that ‘event’, and it was there that ‘Mama’ got to me. Only took 14 years.

#790: Pezz (Billy Talent) – M & M

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Here it is. The return. The Music in My Ears is back with the M’s. Looking through my phone, there are a lot of fine songs to cover. Today, we start with ‘M & M’ – a track that was the first of 17 on Billy Talent’s first ever album, the one they made before they were even known as Billy Talent. For a few years, the band from Canada was called Pezz. They released an album in 1999 called Watoosh!. The group went away afterwards, changed the name and image and came back with a completely different style.

Around 2004/2005 I was really excited about Billy Talent. I was on their official website a lot of the time and trying to find where I could listen to their songs. Came across a fansite on Geocities which had a list of their rare tracks available in a very low quality and in .wmv format, and Watoosh! was on there. Only the links for ‘M & M’, ‘Fairytale’, ‘Nita’, and the cover of ‘New Orleans Is Sinking’ worked. I think that site was also where I found ‘Beach Balls’ too. If only I could remember that website’s name… As someone who discovered Billy Talent first and then found out that they made this years before, I was very surprised in the best way possible. The whole first ‘official’ Billy Talent album was perfect in my eyes as a nine-year-old. And those other songs convinced me that this was a band who couldn’t write a bad track.

‘M & M’ was inspired by the group of goth kids who used to come into the HMV store where singer Ben Kowalewicz worked back in the day and is something of an observation and a look into the minds of the kids of that subculture. It doesn’t seem to be too different from the whole emo scene of the mid-2000s. Kids still loathe their parents, they’re made fun of because of their extravagant makeup, and they have a fascination with death. Instead of the usual heavy approach that Billy Talent would be known for on their first album, Pezz take things on with, dare I say, a bit of playfulness. The group play with the tempo a bit more and add a bit of skip to their rhythms. It’s like a strange ska-punk song. And then halfway through the track takes a bit of a dramatic turn and ends in a way that you wouldn’t have guessed when it first started. That happens a lot throughout ‘Watoosh!’ I still really like that album to this day, even though the members of Billy Talent don’t acknowledge it that much.