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Radiohead have a long history of clearly and succinctly communicating the band's future intentions.

The spelling is actually "whoops". Educate yourself before posting again please. Unbelievable.

Thanks y'all.  I got lucky and had "good" cancer. Low risk of recurrence. I should have many years ahead of me in which to think back nostalgically about the collagen I used to have.  But as I've

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On 6/6/2019 at 9:38 PM, Ash said:

A Series of EPs!

 

each more dastardly than the last!

 

NIN actually did it but then balked on the third one saying No wait this one is an LP (but nobody bought that! literally!)

 

MAD WITCH!

 

burn girl!

One Scottish person did, but that may be an exaggeration

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3 hours ago, CHAZ934 said:

I bet we get Kid A/Amnesiac as one package in fall 2020

This is what I want. Both albums, one package. But knowing radiohead we will just get kid a and 45 mins worth of outtakes even though they keep saying they have "tons of stuff".

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2 minutes ago, Black Jesus said:

This is what I want. Both albums, one package. But knowing radiohead we will just get kid a and 45 mins worth of outtakes even though they keep saying they have "tons of stuff".

LMAO do you really fucking think they're gonna give you 45 whole minutes worth of outtakes?

 

OKNOTOK was downright stingy, extremely embarrassing now that we know exactly what was floating around on those minidiscs. even the cassette looks paltry and weak compared to what could have been used from the minidiscs. 

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It feels possible the next archival release will use a format that accomodates more recordings!!

In 2017, the discussion in interviews about the overall process was that they had saved much more from the actual KID A sessions.  I haven't yet looked at the list of what is on the minidiscs, are there lots of alternate versions/takes of songs that are full-on studio versions from working at St. Catherine's Court, or, more in the form of pre-session demos and rehearsals? 

If so, then probably that is what they were trying to describe, that the actual OKC sessions were not nearly as archived as KID A! 

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25 minutes ago, duaessences as clay become said:

It feels possible the next archival release will use a format that accomodates more recordings!!

In 2017, the discussion in interviews about the overall process was that they had saved much more from the actual KID A sessions.  I haven't yet looked at the list of what is on the minidiscs, are there lots of alternate versions/takes of songs that are full-on studio versions from working at St. Catherine's Court, or, more in the form of pre-session demos and rehearsals? 

If so, then probably that is what they were trying to describe, that the actual OKC sessions were not nearly as archived as KID A! 

I think a lot of it comes from Ed's diary.

There are a few song names that appeared a bit (C-Minor Song, Jonny's Scott Walker thing) so there're probably multiple versions of well-hashed out tracks.

Plus the sessions were just so exhausting that there's probably an exhaustive amount of alternate takes. Both of tracks released on the albums and the few that ended up on Hail to the Thief and In Rainbows.

Possibly, I Froze Up was first knocked around back then too. I always thought that song had a bit of potential and actually really liked the 'I am the cream in your airport coffee' line. it's a bit different for Thom to sing about everyday minutiae but when he does, it really sounds good. Possibly because it sticks out? 'Hey it's me, I just got off the train...' Anyway, wonder if that's a possible lead-single sort of thing?

Honestly I obviously love Kid A and Amnesiac has some of my favourite Radiohead sounds and atmospheres but I'm just not that excited about this. OK Computer always had the fable of Lift and Man of War and the big organ version of Big Ideas et al. But for me the big one is without doubt In Rainbows. I'd love to hear how Spike Stent was approaching those songs. I guess it's also cool because it's a great album in isolation, but so many tracks from that period went back to like 1996. There's possibly a decade's worth of material that sounds completely different to how it ended up – did they give True Love Waits a crack with him? Ya feel?

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I like how, in Spike Stent's wikipedia page, Radiohead is the very first band mentioned in the list of artists he's worked with, but then you scroll down and there is not a single Radiohead record in his discography.

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1 minute ago, Twist said:

I like how, in Spike Stent's wikipedia page, Radiohead is the very first band mentioned in the list of artists he's worked with, but then you scroll down and there is not a single Radiohead record in his discography.

How did they get to record with him? Does anyone know this story? It’s one of the more interesting and forgotten chapters of the band’s history.

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5 minutes ago, forward said:

How did they get to record with him? Does anyone know this story? It’s one of the more interesting and forgotten chapters of the band’s history.

Who knows if that's what really happened, but this is what Colin had to say:

 

Quote

 

Pitchfork: In an interview before the recording of In Rainbows, you suggested the band might be feeling too safe in terms of your close relationship with Nigel Godrich.

CG: It wasn't about being too safe with him, he just wasn't around because he was working with Charlotte Gainsbourg and Beck. It wasn't like he was twiddling his thumbs and we were like, "Ah well, we won't give him a ring." So when we tried to work with with [producer] Spike Stent, it was more out of a desperation to try to get things moving. It didn't work out. But Spike actually turned the crank to get the engine going.

 

I've also read that there was some bad blood with Nigel over the production and especially the mix of HTTT, but to me that sounds like an anedcdote that was overblown. I mean, it could be true, but really hard to see it as the reason for deciding to part ways with him. Also considering that Thom worked on the Eraser around that time, with him.

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4 hours ago, Twist said:

Who knows if that's what really happened, but this is what Colin had to say:

 

I've also read that there was some bad blood with Nigel over the production and especially the mix of HTTT, but to me that sounds like an anedcdote that was overblown. I mean, it could be true, but really hard to see it as the reason for deciding to part ways with him. Also considering that Thom worked on the Eraser around that time, with him.

Need sauce on bad blood pls. Don't recall at all.

Edited by Scatterbrain
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What i am remembering is, Nigel was posting on atease during the time of The Eraser having leaked, and, as part of his presence there, he answered someone's question about HTTT; his post seemed to mention something like that he had wanted to do more complete production on each track. 

There was a bit more that I can't remember clearly enough.  A logical guess based on the band's situation at the time is that they had already in recent memory slogged through two drawn-out and unpleasant situations trying to finalize albums (OKC and KID A) and wished to avoid that experience as much as possible. 

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I feel I am the man with the most complete account of the Nigel's Bad Blood theory.

They made HTTT in a rush. Several members of the band, and Nigel, have expressed regrets over not spending more time on it. Nigel says it's his least favourite of the albums he's done with them. Sources: Wikipedia article, under the "band opinions" section.

They fell out over the album in the mixing stage. Thom: "We finished it and nobody could let go of it. 'Cause there was a long sustained period during which we lived with it but it wasn't completely finished, so you get attached to versions and we had big rows about it ... For me it was the last straw." Source.

Nigel said "some of the original rough mixes from those first sessions are what you hear on the record. About a third of them actually". Source.

Radiohead have given mixed accounts of why they didn't hire Nigel again for IR, initially. Ed said they wanted to get "out of the comfort zone" (source) but later Colin denied this and said Nigel was just busy with other bands (source).

Nigel said this about the period later: "We had a little holiday from each other. The band tried to record on their own, which – surprise, surprise – didn't work. Then they tried working with someone else, which also didn't work." (source)

Here's the final thing, the one thing I don't have a source for. About ten years ago Nigel gave a talk to music production students at Goldsmiths University in London. This was recorded and put on Soundcloud at some point, but it's long since deleted, so everything I say here comes from memory and hence is unreliable. But I remember him talking with some frankness about how dissatisfied he was with the mix of HTTT, and saying specifically "it sounds brown". I also have a very foggy memory of him saying something like "And I could say more about that, but... well, I won't..." but this could of course be a false or exaggerated memory.

All of this made me wonder if there was a bit of bad blood following HTTT, but as the band (even Thom) seem to have come round to accepting HTTT's flaws by the time they were doing interviews for IR, clearly whatever wounds may have existed had healed. And as Twist said, they can't have been that unhappy with each other because Nigel did The Eraser right after HTTT.

So all of this is just speculation and they're probably best mates and bumming each other daily.

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I am into the idea that for 2022 or 23; as though the original HTTT was an album of demos, complete the project with whichever songs they choose: with a crucial missing piece, orchestral arrangements from Jonny and probably the LCO!!  I think it could utilize all new sessions that would include the more complete arrangements (such as the resolving chord for Where I End which i think is, although i love the original, one of the most poignant simple changes they have made to live versions) they have developed live. 

There There is maybe the one song that wouldn't work with strings per se (although who knows!!) but Jonny can compose with basically any instruments and textures in mind.  A subtle yet dynamic Ondes arrangement that would complement that of How to Disappear could be exceptional!!

Edited by duaessences as clay become
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Man I remember being so excited when Ed was on Zane Lowe saying they were working on the next album which eventually became in rainbows. That’s when we first heard they were working with Spike and we first heard they were working on Big Ideas which was now called Nude. 

Did they actually record anything with Spike or were they just demoing/arranging tracks?

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I really doubt they’ll end up doing an anniversary thing for HTTT. It’s not really seen as a like a major landmark of their career. After Kid A/Amnesiac, I feel they’ll probably do one for In Rainbows, and then any kind of archive stuff they release after that will probably just be some kind of general Radiohead anthology. Once they’re long retired and everything.

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I do sorta kinda wonder if we might see some new tidied-up version of HTTT come the anniversary, maybe with a very different mix, different tracklisting, and possibly even some overdubs. An opportunity to rectify those things that bother them.

It would be very unlike them, but then again they did do the OKNOTOK reissue and I would have bet against that too.

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20 minutes ago, Duff said:

I do sorta kinda wonder if we might see some new tidied-up version of HTTT come the anniversary, maybe with a very different mix, different tracklisting, and possibly even some overdubs. An opportunity to rectify those things that bother them.

It would be very unlike them, but then again they did do the OKNOTOK reissue and I would have bet against that too.

Not to mention that on the OKNOTOK reissue they obviously "tidied up" those unreleased tracks with overdubs (e.g., the strings on Man of War). It's possible that they toy with HTTT like that.

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