Tag Archives: hail to the thief

#1162: Radiohead – Scatterbrain. (As Dead as Leaves.)

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Mmm-mmm, Hail to the Thief. You know what? I’ll always root for this Radiohead album, even if it’s the one that the band and resident producer Nigel Godrich agree could have been worked on a little bit more. They recorded the songs in two weeks, in free spirits in a sunny LA after the stressful Kid A/Amnesiac sessions. They didn’t want to bring up any more bad blood that came from tracklist arrangements and production choices, so they put some light touches on and put all of them out there on an almost hour-long record, the final one on their contract with EMI. There are some great songs on there. A couple I’ve written about already. A few more I will do in the future. Those great songs, I reckon, are some of the best in the group’s whole discography.

It’s been a ride and a half up to the point you get to the album’s penultimate track ‘Scatterbrain’, but when it starts you’re greeted with a very calming drum track and descending guitar line by Jonny Greenwood. It’s also a welcome change of pace, considering it comes after one of the more menacing, fuzzed out songs on the record in ‘Myxomatosis’. Yorke said this song is a very hard one to describe, but mentioned that it was influenced by his favourite type of weather and an incident where the roof of a next-door neighbor of his flew up into the sky in a Wizard of Oz type manner. The lyrics do bring up a lot of imagery concerned with that sort of scenery. What I think the track is mainly about, is wanting to find some peace of mind in a world that’s going mad. And in 2003, with the Iraq War and all of that great stuff happening, things were going crazy and off the deep end for a while.

Think it’s fair to say that Thom Yorke’s vocal is the real highlight of the entire thing. While Ed O’Brien and Jonny Greenwood’s guitars are twinkling away in the left and right channels, Yorke comes in with an earnest performance that reverberates into the distance. He’s really left out in the open here. But his voice will glitch out to add a little quirk to the very human aspect of it all. The track subtly builds as things progress. Greenwood comes in first on the guitar, O’Brien joins in at the start of the second verse. What I think is a Mellotron joins in for the second half of that verse, and then these parts drop out one-by-one at the song’s key change, where Yorke claims that there must be someplace out there where he isn’t in is head too much and can be in a state of content. The way the last guitar note trails off and the last rimshot echoes into silence leaves things a little unresolved, which I think works perfectly well, as that then leads into the final track and brings everything to a swift conclusion. But more about that song will be for another day.

#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.

My iPod #438: Radiohead – Go to Sleep. (Little Man being Erased.)

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“Go to Sleep.” was the second single to be released from the album Hail to the Thief, Radiohead’s sixth album released in 2003. The record marked a return to the guitar oriented music the band were known for, after taking a few years down the electronic/experimental route with “Kid A” and “Amnesiac“. Though it gets a bit of flack for not being as cohesive as other Radiohead albums, and because its almost-hour-length is a bit too much for some to handle. Thom Yorke had the same feeling; he posted an alternate tracklist showing what the album may have been had the band taken more time on it. Good to see that today’s track made it on there.

The song has many twists and turns to it. It starts off with an acoustic guitar driven riff playing at a 10/4 time signature that after being accompanied by Thom Yorke’s wailing vocals for a while is joined by Phil Selway’s drums and delicate electric guitar touches via Jonny Greenwood. The track then takes another turn when tom-tom drums dominate the mix as Yorke starts singing about the possibilities of the loonies and the monster taking over and Greenwood’s guitar becomes more distorted and frantic, eventually producing random noises and glitched out sounds as the song fades out.

It’s one of the songs from the album that I’ve known for the longest; I watched the video on the television way before I ever bought the album. It will always be a favourite track of mine from it.