0:00

Welcome. To on south.

0:05

Park as we may. Here

0:10

as soon as next month. And

0:15

Heartbeat Studios. Because

0:19

I look to. Your

0:25

D know. How

0:29

do it? A. Man.

0:41

This. Is

0:48

so. You

0:51

don't need me to

0:53

say you. Are

0:59

doing and. What

1:03

Going to once on the. Luxury

1:07

of my may have that was amazing was.

1:09

It though I was. I always think of

1:11

you mainly like keyboards and all this other

1:13

stuff, but you have a guitarist. You're very

1:16

kind. You know it. It's very kind of

1:18

to say that we're going to talk about.

1:20

About bad today for whom:

1:23

technical proficiency wonderfully. Is.

1:25

Actually, not necessarily a front and center,

1:27

so you know I played. I played

1:29

a few chords there. It's true, But

1:32

one thing I do love about the Banner Talk about

1:34

today is how what they do is playing with sound

1:36

and ideas. Coming. Out of an

1:38

arrow were being Eddie Van Halen was important.

1:40

They're like, let's get past that, you don't

1:42

have to play a bajillion notes a second

1:44

half. So what's funny is when I first

1:46

saw. The. When.

1:49

I first saw the title on That are

1:51

Calendar. Today's. Song.

1:54

Kind. Of has been a mood a little

1:56

today. You know it's a darker song

1:58

and. And. It think good. I'm

2:01

like I'm absorbing by the a little bit

2:03

of the energy of the songs and and

2:05

like I got the to Man yeah I

2:07

feel like I'm like I'm a nineties rise

2:09

on Friday little gambling ago Slattery, right? Also,

2:12

it's funny you say that because like the

2:14

band probably feels pretty similarly. You about the

2:16

side. Great song they love Up with a

2:18

little tired of it. Struck their career as

2:21

will be talking about today. They've had a

2:23

love hate relationship that it may have heard

2:25

several. Yeah yeah, they go on and off

2:27

many years without playing it won't listen to

2:29

song. Is an ode to self loathing,

2:32

anxiety, obsession, neurosis, a self lacerating raids

2:34

and being kind of a creep disguise

2:36

dinosaur to creep. This is a band

2:38

that went on to be known for

2:40

far more experimental and challenging musical. Adelaide

2:42

Us for her I actually often forget

2:44

yet this is them right? who seem

2:46

to suggest? As for know, like them

2:48

it feels like a different than yeah

2:51

interesting right? And this song is by

2:53

far away their biggest It it's not

2:55

even close and like one point five

2:57

billion three hundred and will double platinum

2:59

in Italy. Seen. In the Uk three times

3:01

spot him in New Zealand. in Portugal. Seven.

3:04

Times Platinum in Canada. Be.

3:06

One rate it one of the best songs of

3:08

the nineties, and Rolling Stone aimed at the one

3:10

hundred and eighty grade a song of all time

3:12

Handed Rolling Stone says that of his. Stats

3:15

are just crazy I they regarded as

3:17

I would be borrowing. I pick this

3:20

up publishing a magazine at some point

3:22

that I just started to mailing list

3:24

and and week and we used as

3:26

was on my my son a semifinalist

3:28

this month. I'm his biggest impact comes

3:30

from being an Aunt Rock. Slacker.

3:32

Anthem that helped define the early Nineties

3:34

aesthetic. And I think about the song

3:37

and I think about Loser by Back

3:39

and I think about some of the

3:41

other saw that death of a southern

3:43

scream Ninety Nineties Yeah, the out there

3:45

all of the same moment your I

3:47

sort of the Posts Crimes poster violates

3:49

that. The thing that changed when Nirvana

3:51

out and is this Yeah, Absolutely. This

3:53

episode of One Songs for All The

3:55

Weirdos isn't Creep By Radio. It. They

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for Us Soil and the United

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Soybean Board for the sustainable make

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over of our podcast studios ever

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sparking discussions on greener Hollywood production.

4:23

Just like notes and a song, Sustainable

4:26

Living is just a series of small

4:28

eco friendly choices that contribute to the

4:30

melody. Check. Out the Tears for

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Fears episode of One Song and see behind

4:34

the scenes glimpse of how they pulled the

4:36

home of together. It's all on

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How doers get more done or to

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select in stock items by 4 p.m.

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subject to availability. Said

5:17

the Alex he drops and ninety nine. It

5:19

seems to me where his young the alla

5:22

when you first hear this you know citrus

5:24

I I I i didn't realize that sounds

5:26

him and three I guess the first time

5:28

I heard it was in. High

5:31

school but. You. Know by

5:34

the time I do know is prizes summer

5:36

that I was graduating south was like on

5:38

the radio and tv I saw another v

5:40

friends of videos all over mtv and fix

5:43

it back to a time when videos could

5:45

like. Really? Wants a song? know

5:47

he will be like talking about the video

5:49

like severe some four years. So Socal I've

5:52

had a miss. ah. You. Know

5:54

they're being things like and M T

5:56

V or even like. In. It's easier

5:58

w Public Radio as year. The used to

6:00

be a lot of places to go to find

6:02

cool new music right? and I feel like nowadays

6:04

with the sort of everybody often their spot if

6:06

I corner. yeah and the algorithm sort of feeding

6:08

you a that assumes it's you like like it.

6:10

I don't know that it would know. From.

6:12

The songs I've liked on Spotify that I

6:14

would love this on by do I do

6:17

have any Cohen The Discoveries you're saying like

6:19

with with Mtv specifically box however it's like

6:21

when you got video there something cool that

6:23

the discovery happening like multimedia know like obviously

6:25

it's music so the song is important first

6:27

and foremost. but the visuals and who the

6:29

band are what a look like can be

6:31

powerful. Give it all makes a big impression.

6:33

Yeah I agree. And by the way. The.

6:36

City that she would have new see Rak

6:38

back in the days of a lot about

6:41

you know like I you either have gone

6:43

our demise there's I would always like sort

6:45

of like rank them In my case of

6:47

that I remember Pablo Honey was in every

6:49

every every during the about some as in

6:51

college Pablo Honey was always the rear seat

6:54

Iraq's with a vertical. Or. Horizontal though.

6:56

Like as you're only I. I

6:58

know it's interesting as up the offer

7:00

nickel but most a time I just

7:02

stared. Proceeds on on on and on

7:04

of. Vore. Or check is gonna be

7:06

awful cause it's it's it's vertical then only the top ones

7:09

every weekend has no one's it was in when it's ten

7:11

down. About You has you first

7:13

hear it and what made it stick out

7:15

to you musically well as this. a little

7:17

foreshadowing is I remember hearing this for the

7:19

first time I in San Francisco where I

7:21

grew up. I was home from college and

7:23

I would have heard it on Live on

7:25

Five. The radio station which is an important

7:27

part of the story will be coming back

7:29

to in a minutes. and it's one of

7:31

those songs that it's memorably. It blows you

7:33

out of the car you gotta pull over

7:35

to listen to maybe anything. So I remember

7:37

very distinctly been like what is guess because

7:39

of that such junk that will be out

7:41

soon enough. now is saw it makes

7:44

the like i find like any some i

7:46

hear the song i'm just kind of waiting

7:48

for the songs to zola i mean we

7:50

were just playing in the room obvious latest

7:52

performed it myself it's life as that is

7:54

the moment like it is the anticipation of

7:56

that moments and end of release the catharsis

7:58

is so satisfying it happens twice the song

8:00

and then you've got to go back and listen again.

8:02

Maybe you fast forward past the intro, which is a

8:04

little long, and Kachunk

8:07

hits the deepest part of your soul. It really

8:09

does. It hits the inner part of my soul,

8:11

and I want to know everything about it.

8:13

I'm so happy that we have the stems for this song. Yeah,

8:15

yeah, yeah. We'll be able to listen in a

8:17

completely new way than you've ever heard it before. In

8:20

the early 90s, we're talking about a moment where

8:22

Nirvana has happened. We talked about in our Nirvana

8:24

episode, Call Back. If you haven't listened, go back

8:26

and listen. Great episode on Smells Like

8:28

The Spirit. We did a good job, I think. We talked

8:31

about how the culture changed overnight because

8:33

what Nirvana brought in terms of the

8:35

sound and the ideas and the attitude,

8:38

the punk rock energy and suddenly it's

8:40

on top 40 radio, changed

8:42

everything. One of the bands in its

8:44

wake and frankly an attitude that starts

8:46

to happen in the culture in its wake is

8:48

this. We got Beck with Loser. Very

9:04

similar song, Loser, because literally this

9:06

song is like, I'm a creep,

9:09

I'm a weirdo. I'm a

9:11

loser, baby. This song is about not

9:13

having a lot of self-esteem. It's starting

9:15

to be a thing and it's part

9:17

of this sort of slacker culture. We

9:19

have the Richard Linklater movie Slacker. We

9:21

have Reality Bites with Janine Garofalo. There's

9:23

this thing happening in the culture where

9:25

there's a cynicism, there's an irony, there's

9:27

a kind of like distancing yourself from

9:29

feeling and emotion to sort of harden

9:31

yourself. The irony there is

9:33

really interesting to me because I think

9:36

we've talked about this on an earlier episode just sort of touched

9:38

the surface but like David Letterman comes

9:40

on the scene and he's all about this

9:42

like knowing this tone or what he's saying.

9:45

You know is the opposite of what he

9:47

means which is kind of a newish thing

9:49

in pop culture. We've always had cynicism, we've

9:51

always had irony but it being something in

9:53

the mainstream where you know that something is

9:56

referring to something else, it's starting

9:58

to feel a little different to me I'd say. Yeah,

10:00

and I mean like you know this is like

10:02

when Seinfeld's taking off and like perfect I all

10:04

of these things are sort of being created on

10:07

their own in their own sort of unique creative

10:09

Vacuums, but then taking a look back at this

10:11

decade as a whole you're sort of like oh

10:13

there are some through lines here Yeah, and it

10:15

relates to me to Radiohead because a big part

10:17

of who they are as a band is a

10:19

band That's come up during the you know raised

10:22

in the 70s and 80s They've

10:24

been exposed to a lot of rock and roll

10:26

and pop music cliches and they don't want to

10:28

be it so when this song becomes a hit

10:31

and they become this big pop music

10:33

darling and Traveling the

10:35

world they have to deal with having their

10:37

cake and eating it too to them They

10:39

wanted this they wanted success, but it's

10:41

not necessarily on their terms It's not their favorite

10:43

song in their catalog So it's this very interesting

10:46

moment of having to be like are we becoming

10:48

this cliche that we're trying to rail against well

10:50

one other Thing I would point out is that

10:52

you know early and mid 90s Have

10:56

two very different scenes that I feel

10:58

like Radiohead got lumped in with Sort

11:01

of against their wishes But they

11:03

don't fit in either group so you have you

11:06

know in America you have grunge Obviously and

11:08

there there is sort of like

11:10

a grunge element to this song There's a

11:12

connection. I would say that I hear what

11:14

you're saying I think the pixies are what

11:16

connected to that quiet loud yeah quiet loud

11:18

we talked about under one episode That's definitely

11:21

the pixies if that goes into Nirvana Mm-hmm,

11:23

and it's kind of going into Radiohead in

11:25

parallel like they both share doing the

11:27

quiet words and the loud chorus But they don't

11:29

necessarily share a lot of the other aesthetics But

11:31

you know what else is interesting is that at

11:34

the same time so you have grunge Which

11:36

you know creep sort of sounds like

11:38

a grungy song But then you also

11:41

have you know that explosion of Britpop

11:43

Happening and I remember early on

11:45

like Radiohead used to get lumped in with like

11:47

blur and oasis and all the other British groups

11:50

that were you know part of this you know

11:52

whatever it was the third British invasion or whatever

11:54

the Invasion didn't really have it because Britpop doesn't

11:56

really take off in the United right ever quite

11:59

explode never quite It gets pretty big, but

12:01

it's never quite, it doesn't take over the world,

12:03

like Nirvana takes over the world from us to

12:05

them. Exactly. But I just find

12:08

it interesting that Radiohead got lumped in with grunge,

12:10

got lumped in with Britpop, and it doesn't, and

12:12

those genres can't be any different. And

12:15

Radiohead doesn't fit in either of those genres. No, and

12:17

they never did ever again, outside of this one song,

12:19

which barely fits on the album it's from, Pa Wa

12:21

Honey, where you don't really have any other songs that

12:23

sound like it. So it's just

12:25

this one song, this one moment. It's

12:27

really big, it's some of those early Radiohead concerts. It's

12:30

just like, I'm just waiting for creep, I'm just waiting

12:32

for the Chachunk. And the

12:34

band is just rolling their eyes going, they're just here for the

12:36

Chachunk. Alright,

12:38

D'Yala, so this song has a pretty interesting story, but

12:40

before I walk you through that, why

12:42

don't you walk us through the band's backstory a little bit

12:44

more? Yeah, just real quick, I wanted to say a little

12:46

bit about Radiohead. First

12:48

off, they took their name, Radiohead, from a

12:51

Talking Heads song, Radiohead, off of

12:53

the True Stories. I totally didn't know that. Yeah,

12:55

that's fun. Can we hear the song? Yeah, let's

12:57

hear it. Let's hear a little bit of Radiohead

12:59

off of True Stories. That's

13:14

a strange choice in a Talking Heads song, because I

13:16

love the Talking Heads, it's not my favorite record. It

13:19

sounds so unlike all the Afrobeat influence stuff,

13:21

which is my favorite talking heads era. But

13:24

that's where the band... That's where they got their name. That's

13:26

where Radiohead got their name, that's crazy. That's kind of wild.

13:30

Because before they chose that name,

13:32

they actually were called On a

13:34

Friday. And

13:36

I think the label was like, no, we don't want to do it.

13:38

I mean, Radiohead's a pretty bad name, too. It's one of those things

13:40

that you get used to over the years, but then when you're thinking

13:42

about it, it's like Radiohead. Not

13:44

great, but love the band. Tom

13:47

York, the singer from Radiohead, said that he

13:49

always liked that song because it's about communication

13:51

and the ways that... He

13:53

says it more eloquently than I, but he's

13:55

got a really deep philosophy on why that

13:57

song means so much to him. That's still

13:59

interesting. The answer. He put them together feel that

14:01

sounded out that word. And he did. Yeah, They.

14:04

Came out with an E P God

14:06

drill. You. Know. Pretty.

14:08

Much slots like any. doesn't do any

14:10

lesser known in the Uk or obviously

14:12

for Pablo Honey there is an appeal

14:14

people on talk about very my sentences

14:16

but ah. When. They decided that they

14:19

were going to tour America in the hopes

14:21

that they would use of of moment I'm

14:23

to break them. Ironically in the Uk usually

14:25

we hear the opposite we're Lights are We

14:27

had a Sig Jimi Hendrix to the Uk

14:29

so that people would put them in America

14:31

is sort of the opposite of that's a

14:33

May Enlist Paul Coterie and Son Slaves because

14:35

they were for the Pixies area mentioned earlier

14:38

like oh yeah there's Wilbur The Pics Let

14:40

me go my sense yes they produce the

14:42

debut album Pablo Honey. Yeah, absolutely.

14:44

You know it's interesting because he mentioned Huckleberry

14:46

in San slated to produce his work together

14:48

and produced allowed Pablo Honey that Creep is

14:51

on. You know most people know night. Oh

14:53

God, what is being kind of the The

14:55

As was eight assists member specific but he's

14:57

a Sixth Season six, A Feel of Radio

14:59

Had he's produced other records after this one

15:01

arm but he wasn't in the picture. Yeah,

15:04

it's ah. so The To producers, Colder and

15:06

Slade They were working on songs looking for

15:08

a single day. We're looking to help basically

15:10

crafts the thing that would blow everybody up,

15:12

including their own careers. Creep was not one

15:14

of the songs that they were hired to

15:16

produce. It wasn't one of the singles in

15:19

contention in other words. And what happened was

15:21

during the rehearsals for the songs that are

15:23

called inside my head Him and Learns You

15:25

the Way to Neither which I think made

15:27

the kites. Time. York

15:29

started playing the song he had written that

15:32

Exeter University in late eighties and they the

15:34

whole band new it has eight and playing

15:36

in rehearsals but they just to them it

15:38

wasn't a serious thing. Who does something to

15:40

do to goof off to kind of like

15:42

breaks. You. Know they're getting sick of

15:44

the two songs they were playing over and over again.

15:46

So let's let's play that others on her that when

15:48

at hombre. So when they played it. Slade.

15:51

And kultury like. Heard it more like

15:53

this is pretty good You guys like what about

15:55

this one This we think with our producer ears

15:58

are American producer years and we did that. These

16:00

are listen as we think this could be

16:02

something and I'm. Dismissive. Li

16:04

a sort of a joke time Yorkers like honor

16:06

know, that's just that's our Scott Walker song.

16:08

So Scott Walker for those who don't know, this

16:11

incredible singer. Very. Well known kind of

16:13

in indy circles as late one of these

16:15

names, one of these artists that never fight

16:17

break into the mainstream. but like. All.

16:20

Indeed, You know it's like the Velvet Underground

16:22

only twenty people ever saw them play Lie.

16:24

but every single them formed a band scale

16:26

like Scott Walker are gonna play you a

16:28

little bit of Scott Walker. He's got a

16:30

beautiful voice. you may hear a little bit

16:32

of one of Time York's influences in it.

16:34

Oh, That's

16:46

wonderful. It's

16:49

from nineteen sixty Nine, but if you're able

16:52

to kind of, you know. There. Is

16:54

a connection mrs a beautiful haunting Boys

16:56

He's got a really beautiful voice. Elmo

16:58

sounds like a French sung to my

17:00

years and then it's that is very

17:02

strange thing happening in the background with

17:04

the strings. It's almost dissonance. It's very

17:06

jarring. And then there's this like sort

17:08

of beautiful melancholy pop song over it.

17:11

I mean, foreshadow into the rest of radio

17:13

have career after creep, right? This is something

17:15

they end up using kind of as a

17:17

template. Scott Walker's already in the picture. And.

17:20

What happens is the producers misunderstand They

17:22

think that it's a cover. Letter

17:25

you think that what Thom Yorke as A said his

17:27

oh that's a song that that's a cover of a

17:29

Scott Walker's ha And then when it's finally clarify that

17:31

know we just refer to it is now John Scott

17:33

Walker song A Once they realize that this is in

17:35

contention that this is a song in our and you

17:38

original song they decide. You know what we think This

17:40

is pretty good. Let's record it. They. Do.

17:42

And then everyone listens back in there like wait

17:44

a second. We have something special. Time

17:47

turvy varies by something. very very I wish

17:49

I was. Owners were so very special. Tom

17:51

turns to Johnny apparently Thom Yorke the singer

17:54

turns to guitar player Jonny Greenwood went after

17:56

they've listened back and he says what do

17:58

you think Agenda goes, it's the. Thing

18:00

we've ever done. So interesting that they

18:02

have a the way of your name

18:04

as zoning Greenwood. you have to be

18:06

a guitar specific life as a second

18:08

like a guitars it's a very guitar

18:10

player named now so Pottery the producer

18:13

convinces Am I to release Creep as

18:15

a single. It goes out in the

18:17

Uk September twenty first making any to

18:19

edit Flops Hard yeah I did not

18:21

know, only sell six thousand and taught

18:23

as he gets reviewed very poorly or

18:25

the London Evening Standard says quote a

18:27

gloomy and some of the self loathing.

18:30

Sprinkled with the f word and a

18:32

miserable refrain as it is the first

18:34

saw we've ever done that was actually

18:36

blacklisted by Bbc Radio. I played it

18:38

three times and dropped it, saying it

18:40

was too depressing, oppressing the first and

18:42

then the enemy just to add insult

18:44

to injury and injury. On top of

18:46

the insult said. Pitiful.

18:48

Lily livered excuse for a rock and

18:50

roll. Group. So it does not

18:53

do well in hits. It peaks at seventy eight

18:55

in the Uk charts and they are ready to

18:57

throw in the towel. I don't know, I don't

18:59

know how what the mood his insides out the

19:01

locker room but. When. Did a seer

19:03

that it's becoming a hit in Israel. There's

19:05

this Dj down there who sort of the

19:07

John Peel of Israel has a slang is

19:09

becoming a head start spreading. New Zealand becomes

19:11

a hit, Spain it becomes a hit. and

19:13

there's a Dj in San Francisco who is

19:16

actually friend of mine. Shoutout to Aaron Axelsson

19:18

from Livorno Five At the time he was

19:20

an intern and college radio station called Ccr

19:22

Aids in the Bay Area, or he was

19:24

also inserting a live one of five he

19:26

buys the record, says he's working at a

19:28

record store and he listens to and he's

19:30

like this is amazing and this is a.

19:32

Classic Dj as pacemaker slices career maker

19:34

story where he takes it to his

19:36

boss the masses alive one or five

19:38

says we simply this they start playing

19:40

it gets into heavy rotation just on

19:42

this one radio station but then other

19:44

radio station start to like. Join.

19:47

Him because that's how radio works. Out of this phenomenon

19:49

like this is a hits getting a lot of attention.

19:51

The listeners love it and it spreads up and down

19:53

the west coast. It. Ends up being quite

19:55

popular in California by the end of the air. In

19:57

fact, it's number one on Live On Five May. Starts

20:00

playing it's and as a get it to Nineteen

20:02

Eighty Three it is starting to spread throughout the

20:04

U S. There's a business buys happening now. I

20:06

just like a little quick anecdotes many years later

20:09

and again Air and Axelsson same dieter who played

20:11

radio had for the first time in broke them

20:13

in the U S. He played my music for

20:15

the first time. As I have him to think

20:17

is that was my pulling over to the side

20:19

of the road moment when I heard my own

20:22

music on Live On a Fireman years later. So

20:24

I'm very grateful to him. I think time York

20:26

and the boys Radio had are grateful in many

20:28

many many more dollars worth of. Grape. or

20:30

perhaps I'm but he he deserves his

20:32

flowers. I mean, you mean and. And

20:35

on of you'll notice but when it M

20:37

T v get into it because I feel

20:39

like again I've I've been. My first exposure

20:41

to it was probably through Mtv. This is

20:43

around the time in early Nineteen Ninety Three

20:45

so first of on February Pablo honey the

20:47

album is released because it is really says

20:50

a single it leading up to the I

20:52

am in hopes that L Build.buys which number

20:54

seventy eight and six thousand sales and in

20:56

the Uk does not build buzz but in

20:58

America the by the starting to build and

21:00

dumb they did read do that F word

21:02

that the one that. The. London Evening Standard

21:04

complained about since they redid the line you're

21:06

So Fucking Special which is still on the

21:08

album version but they made a cleaned aversion

21:10

for american radio era of various that all

21:12

very sour sauce which sounds so sarcastic I

21:15

kinda sticks or him singing they're Going to

21:17

your so there is perfect though for the

21:19

tone of is no I'm crazy and we

21:21

thought about this on the sofa for sometimes

21:23

those and it's yeah. Make a song

21:25

better Like I'm not saying like yes of I

21:27

confess was really good is really good so very

21:30

special like this of this the isn't my the

21:32

something nice about withholding a little bit as we

21:34

haven't even gone to the could sunset Yard eve

21:36

the Angers already there. let's have a more of

21:39

a build up. a slow build to that had

21:41

sunk absolutely. I'm I'm reminded of

21:43

the As New Dog lyrics. I.

21:45

Got my gaze in New Zealand Mother fucking Twenty

21:48

two which for radio became A Got a Gays

21:50

and Newsy M a nickel plated twenty two. I

21:52

thought this it's better image or yes he had

21:54

that. I saw him at the center Nickel plated.

21:57

Pull. back and some of those f words as

21:59

london It gives them more power. Snoop. Compared

22:02

to the F-words. Well, to answer your question, by Summer of

22:04

93, Creep is a massive

22:06

alt nation slacker anthem, if

22:08

you will, thanks to MTV, thanks to World

22:10

Wide, thanks to US Radio, is making it

22:15

a hit. And they are

22:17

actually the first ever guests on Conan, late

22:20

night with Conan O'Brien. Oh, wow. That's

22:22

cool. In September, they play Creep. My

22:24

next guest have taken self-loathing and raised

22:26

it to an art form. Please welcome

22:28

our very first musical guests, and I

22:30

really like these guys, Radiohead. It was

22:33

exactly 12 months from the initial launch,

22:35

EMI re-releases Creep in England,

22:38

and it goes to number seven, and it is on.

22:41

It is on. The song starts to take

22:43

over Planet Earth, and that's all wild that it had

22:45

to have a second life. Yeah, it's so lucky, too.

22:47

And again, the story, I think it really

22:50

can't be over emphasized how the decision of

22:52

one DJ had such power, like that one

22:54

choice that this gentleman, Mr. Axlson's

22:56

ears were like, I really like this song.

22:58

I just like this. I think other people

23:00

will, too. Sometimes, especially in

23:03

this era where radio has become so

23:05

corporate, we have this sometimes presumption that

23:07

it's all algorithms and

23:09

focus groups. No, a

23:11

lot of times, it's just one person saying, I like

23:13

this and having the power to play it

23:16

on the air, and other people like it, too, is

23:18

what makes a song happen and what makes a band's

23:20

career begin. Coming

23:23

up after the break, more creeps, more

23:25

weirdos, and a nice way to guitar-sym

23:27

that will blow your head off. Get

23:29

ready. It's going to break

23:31

your speakers. Hey, I'm Paul Scheer. I'm

23:38

June Diane Raphael. And I'm Jason Mandzukas. And we're

23:40

the hosts of How Did This Get Made, a

23:43

comedy podcast where we deconstruct, make fun of, and

23:45

celebrate the best, worst movies ever made. Have you

23:47

ever seen a movie that's so bad that it's

23:49

actually good? That's what we're

23:51

talking about. From blockbuster franchises and

23:54

made-for-TV romances. To bonkers

23:56

80s action flicks and obscure

23:58

sci-fi musicals. cover it all.

24:00

You can find how to this get made wherever

24:02

you get your podcasts and don't forget to follow

24:04

the show so you never miss an episode. Idiot.

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25:43

Welcome back to One Song

25:45

Luxury. I'm so excited to hear

25:47

these stems. Let's start. What do you want

25:49

to play for us? Let's get into it

25:51

with the drums. This is Phil Selway Playing

25:54

the drums. I

26:05

just heard a song in my head as you hit

26:07

we're the same Thing is. Is

26:10

it that's not for some sort army? It's one of those hair

26:12

metal band I gonna play and you'll be like that's the one.

26:22

Ah, it's it's Aerosmith Walk this way

26:24

be one of worth. Nearly as funny

26:26

as that's. like you forget the song

26:28

was, you know, kind of composed probably

26:31

in the late eighties since he said

26:33

he was still a student. Yes! And

26:35

those drums would have been perfectly in

26:37

line with the music on the radio

26:39

at the with Aerosmith run Dmc remake.

26:41

That about yeah side. So funny here

26:43

and I'm still gonna go with the

26:45

vibe of as long as this is

26:47

such speculation. My my I'm just gonna

26:50

say that I really feel like. So

26:52

much of this song is. A

26:54

goose. In other words, we talked about

26:56

this phenomenon. Sometimes you're playing something as

26:58

musicians whether it's your part or the

27:00

song as a writ large and there's

27:02

something about it that you know is

27:04

a little bit. maybe not corny, but

27:06

there's something likely say that's the word

27:08

I'm looking for their something done before.

27:10

Especially these guys this is radio has

27:12

who make a career after this song

27:14

of doing the unexpected before changes the

27:16

times in signatures, the like use of

27:18

in some songs without any drums and

27:20

I know all of that experimentations about

27:23

happened in their career. By they

27:25

haven't quite maybe gotten there yet, but I

27:27

definitely think that playing that drumbeat they were.

27:29

Maybe I'll winking a little bit like this

27:31

is walk this way as and. It's

27:33

so when he get to the chorus. Mr.

27:36

Selway unloads he he starts to lose

27:38

an eye out and then he breaks

27:40

into the big course beat. That.

27:42

Hear that? This

28:00

way when you hear those symbols,

28:02

yeah, you realize it's you

28:05

know It's kind of a slacky way of playing

28:07

the symbols like a copy you can hear the

28:09

self loathing and the fact that

28:11

the symbol Is not quite with

28:13

the rest of the song. You know what I

28:15

mean? It's an ecto key each of the individual

28:17

parts comprises the whole even the ride symbol is

28:19

like I'm slacking I'm

28:24

a bad person And

28:28

then he has a couple fills here and there Phil

28:30

plays some fills. Oh poor guy I just ran into

28:32

a guy called Justin in the hall and My

28:35

the door was about to lock and I said thanks

28:37

you came just in time and he goes my name

28:39

is Justin Poor Phil he hears that all the time

28:41

when he's playing the drum I always say never make

28:43

a joke about a person's name because they've heard

28:45

it. Trust me. They've heard it Well, here comes

28:47

Phil playing some Phil Nothing

28:57

more complicated than that not fancy simple

29:00

Strict tempo. He's doing his job. You

29:02

know, it's tempo, but it's laying it

29:04

on you He's he's selling the theme

29:06

of the song with that with that

29:08

symbol Phil is selling Phil sell away

29:10

is selling the song with his Phil.

29:12

What are you doing deal? What

29:15

are you doing? I'm just setting you up for

29:17

pure What's

29:20

the next time you want to play first Next

29:23

up we have Colin Greenwood on bass one

29:26

thing about this before I play it for you that

29:28

I heard an interview with the producer Paul

29:30

Colby and While they were

29:32

recording it. He was talking to Colin about like

29:35

Colin was like, alright, not almost like

29:37

an actor What's my motivation and he was sort

29:39

of giving him some suggestions. He said the verse

29:41

is Al Green The chorus is

29:43

the pixies. Oh, wow. I thought that was kind

29:45

of an interesting in our green. Yeah, right Let's

29:47

listen if we can hear the Al Green in

29:50

the verse here on bass is Colin

29:52

Greenwood Also known as Johnny Greenwood's brother

30:10

That's... I can almost hear it. You

30:12

hear the Al Green? I can, yeah. Yeah, a

30:15

little bit. I can hear it there. It's a

30:17

little bit of a syncopated note. A little funk

30:19

groove to it, but not like funky James Brown

30:21

funk. Yeah. I think if it had different drums

30:24

and a completely different, you

30:26

know, totally different singer. I could actually

30:28

see the Al Green in there. That's cool. And

30:31

here's Colin and Phil together just so you can hear the full rhythm.

30:44

Playing in lockstep. They're doing their job. Bass

30:46

and drums. Holding it down. It's funny, when you don't have the

30:48

drums in there, I'm like, oh, I can hear some Al Green.

30:50

Once the drums are in there, there's no Al Green. There's no

30:53

Al Green. There's no Green here. There's a little bit of Aerosmith,

30:55

strangely enough. I can't un-hear the Aerosmith. No, it's so funny. Just

30:58

to take a step back for a second, the way the

31:00

band, as I understand it at the time, was

31:02

writing songs, which evolved over the years. At

31:05

that time, York, Tom York, the singer,

31:07

is kind of the main songwriter to

31:09

the extent that there's a

31:11

funny quote I'll read in a second. But

31:13

the songs usually began as Tom York's demo

31:16

or sketch of an idea, which then he

31:18

would work with Johnny. They'd be sort of

31:20

the McCartney and Lennon of the band and

31:22

harmonically develop it. Because what Johnny Greenwood, the

31:24

guitar player, brings to the mix is a

31:27

very eclectic musical background. He loves jazz.

31:29

He loves all the avant-garde stuff. He's

31:31

not necessarily a virtuoso guitar player, as

31:33

he himself would say. When we listen

31:35

to the guitar part, which we will

31:38

next, you'll hear what he's playing is

31:40

amazing, but it's not technically insane. Anyway,

31:42

what happened later on is the band

31:44

started to become more democratic because Tom

31:46

started to release his grip on the

31:49

creative process, from what I understand. He

31:51

even said himself that in

31:53

a 2004 interview, he said that his power used to

31:55

be absolutely unbalanced

31:57

and he would, quote, subvert everybody's interest.

32:00

else's power at all costs.

32:03

I think this comes after being friends from

32:05

childhood and they learn

32:07

to live with each other as friends and

32:09

bandmates. It's really important to mention that this

32:12

is a band that has never changed its

32:14

personnel. Radiohead has been the same five guys

32:16

since high school to this day. They have

32:18

solo projects, they come and go, but they

32:20

are friends and they've learned how to share

32:23

the challenges of power that come from being

32:25

in a creative relationship together. I really think

32:27

that's a really interesting part of the story.

32:30

All right. Now that you've got some guitars

32:32

for us and we are very much looking forward

32:34

to guitars. Oh man, I don't want to make

32:36

the build up too build up-y, but I'm going

32:38

to have to build up just for a moment

32:40

because there are two guitar players in Radiohead. It's

32:42

Ed O'Brien and Johnny Greenwood. I'm

32:45

about to play the guitar parts and

32:47

we're going to hear the noise, which is what

32:49

they called it in quotes. The noise is what

32:51

the band refers to this sound as. They knew

32:53

how important it was. When they were writing the

32:56

song, now it's different stories

32:58

about how it came to pass.

33:00

I'll tell you the two main ones and

33:03

for us, the listener to decide what's true.

33:05

Now clearly with the

33:07

Pixies conversation we had earlier, they were going

33:09

for that quiet, loud, quiet thing. At

33:12

one point, I think Ed

33:14

is playing the chill part in the

33:16

verse, that arpeggio with no distortion on

33:18

it. Johnny's waiting for his moment. He's

33:21

waiting for his moment to arrive. He's

33:23

got the distortion ready to go. According

33:25

to the story, Ed says, he

33:27

told NME in 1992, this is the sound of Johnny

33:30

trying to fuck the song up. He really

33:32

didn't like it. He tried spoiling it and

33:34

it made the song. Tom

33:37

York by contrast tells the story, it's that

33:39

nervous twitch he does. That's just his way

33:41

of checking that the guitar is working, that

33:43

it's loud enough. He ended up doing it

33:45

while we were recording. While we were

33:47

listening to it, he was like, hey, what the

33:50

fuck was that? Do that again. We're going to keep that.

33:52

Either it was an accident or he was trying

33:55

to fuck it up. Now we may never know

33:57

the origins, the very, very, very first time he

33:59

ever did it. Maybe it was an accident, maybe it

34:01

was an accident that maybe it was something he meant to do to

34:03

fuck it up that he pretended was an accident. But

34:06

certainly by the time they went into the studio, it was part

34:08

of the song, it was part of the repertoire, it was how

34:10

they did it. As the producer explains,

34:12

like that was just how the song was being

34:14

done. So when you hear it in the song,

34:16

that's not an accident. That recording of it is

34:18

definitely purposeful. Yeah, but the thing I

34:20

love about it is that it does seemingly

34:23

come out of nowhere. It comes out of nowhere. It's

34:25

just like this big angry voice that

34:27

just comes stomping onto the track. It's massive and

34:29

it sounds wrong even though we know it's right

34:31

and we're waiting for it because we're excited to

34:34

hear it. It just jumps out of the track.

34:36

It almost sounds 3D, right? I love it. I

34:38

love the idea of him doing it to intentionally

34:40

ruin the song. Is that the explanation you want?

34:43

That's what I want to hear. Yeah, let's go with that one.

34:45

Let's hear it. So let's start with the chill. Is it Ed

34:47

O'Brien? It's Ed O'Brien

34:49

on guitar, probably for the

34:51

chill one. Certainly in the video if you watch

34:53

it, it's Ed O'Brien. Yeah. I

35:10

mean, you

35:13

could literally put that guitar part into

35:15

a total rock anthem.

35:19

It sounds like you almost

35:22

expect Eddie Van

35:24

Halen to come on the track. You know

35:26

what I mean? It sounds like a setup for

35:28

a totally different song when you isolate it. It

35:30

even kind of evokes an 80s power ballad that

35:32

they would be making fun of. If the drums

35:34

were half time, it's... It

35:39

could be like a Guns N' Roses. That's what I'm

35:41

saying. It's so interesting when you isolate it and it

35:43

sounds like a totally... So you've got Al Green. You've

35:46

got Walk This Way

35:48

on the drums. You've got this 80s

35:50

power ballad. Guns N' Roses-esque

35:52

thing. On this guitar, there's

35:54

so many different things when they

35:57

add them together, it's Kreek. It's

35:59

something completely different. different. Well

36:01

that continues throughout the entire verse

36:04

and then you know interesting what happens on the

36:06

chorus because I feel like that guitar gets forgotten

36:08

on the chorus. On the chorus he continues to

36:10

play that but we have the entrance of guitar

36:12

player number two, Mr.

36:14

Johnny Greenwood, who's lying in the

36:17

wings waiting for his moment and

36:19

here is his moment. Ah

36:36

come on. Satisfying

36:47

ending. I was just gonna say that ending sounds

36:49

like the end of like a 90s

36:51

sitcom. Or it could be like a

36:53

symphony it's like the final satisfying note.

36:56

Again and that's a funny you're right

36:58

because like to the point

37:00

that I was making earlier my theory that there's a

37:02

lot of sarcasm or humor or

37:05

wink wink or irony going into the choice

37:07

not just of the song and the lyrical

37:09

content which we'll get to in a minute

37:11

but also each individual part. Like it's kind

37:13

of funny as a guitar player to end

37:15

with. It's

37:18

almost overly satisfying. You know

37:20

those two guitar those two

37:22

guitarists when you isolate them it

37:25

they it sounds doesn't just sound like the 90s

37:28

like I'm old enough to remember what the 90s

37:30

was like and I feel like gosh just this

37:32

sense that like everything's gonna be okay and you

37:34

didn't worry about everything that happened in the news

37:36

didn't feel like an existential crisis you

37:38

know literally gonna it all goes away obviously

37:41

in 2001 but man the

37:43

90s were kind of fun. The other thing I

37:45

really like about Johnny's guitar playing here is

37:47

that it just it has almost nothing to

37:49

do with the verse like it just comes

37:52

in out of nowhere it announces its arrival

37:54

and then it's just fuzz

37:56

it's just like it's this crazy rocking

38:00

fuzz and then it goes

38:02

away again. It's a two-bar chord. Duh. Two, three,

38:04

four, two, two, three, four, duh, duh. And then

38:06

towards the end of it he starts to do

38:08

this sort of tremolo. Yeah, I heard that. I

38:10

never really heard that in the song before. Yeah,

38:13

I'd never noticed that either until we isolated it.

38:15

He is crazy. He came on the track and

38:17

was just like, my song now.

38:19

He's making it energetic, you know, I don't know

38:21

if that's 30-second notes or a tremolo, whatever you'd

38:23

call it, but that is his, at this point

38:25

I would call it his technique. When we get

38:27

to the chorus, which I'll play it in the

38:29

second, you'll notice that there really isn't a guitar

38:31

solo to speak of. He's kind of doing that

38:33

thing again. So it's

38:36

melodic. He's finding notes, but it's not like

38:38

a wailing guitar solo, which would be filled

38:40

with lots of notes and they would be

38:42

very high on the scale and playing scales

38:44

up and down and doing crazy stuff with

38:46

whammy bars. He's not doing. We're coming out

38:48

of the 80s. We're leaving the Eddie Van

38:50

Halen, Ingway, Ingday, Momskine era of things and

38:52

getting into post-scrunch, I guess was what you

38:54

would call it. Yeah.

38:56

So interesting story I'm going to tell you

38:58

about in a minute regarding another

39:01

song with a similar chord progression. Now, one

39:03

thing actually before I get to that is

39:05

to point out that it is an unusual

39:07

chord progression. The chord progression has,

39:10

it goes from G major to B

39:13

major, which is interesting because

39:15

technically the, you wouldn't play

39:17

a B major, you play a B minor. The notes

39:19

of the same, it's not going to go down the

39:21

path of being too musicologically, you know,

39:23

music theoretical, but that's an unusual choice, which

39:26

is why in the second chord,

39:28

it evokes a new feeling to the listener.

39:30

It's like, oh, that's surprising. And then

39:32

it happens again because the third chord

39:34

is a C major and then

39:36

it goes to C minor. It's sort of

39:38

the same principle. I'm

39:40

just going to take a very quick music

39:43

theory detour, which is relevant to

39:45

the song for two reasons. One, because

39:48

it's going to explain a little bit why

39:50

the song sounds simultaneously simple,

39:52

but also surprising. And

39:54

secondly, because it becomes relevant a little bit later

39:56

on when we get to the interpolation part of

39:58

our broadcast. You know what's coming.

40:01

You know what's coming. I've got a guitar,

40:03

which I'm holding, so everything you hear, mistakes

40:05

and all, coming up on the podcast. Coming

40:07

from me. This is not the stems. Little

40:09

moment. I've got the guitar here to discuss

40:11

how the chords of the song Creep are.

40:13

It starts with a G major. Then

40:17

it goes to a B major. Now

40:20

normally, in the key of G, that would be a B

40:22

minor. Key goes. But

40:27

in Radiohead's Creep, it goes from G major

40:29

to B major. So

40:32

emotionally, without knowing music theory as

40:34

a listener, you hear that and it's kind of

40:36

surprising. Part of the reason why is what I

40:39

just explained. Then it goes to the C

40:41

major. And

40:44

then it does kind of the same thing again. It goes to

40:46

another chord that wouldn't normally be there, which is the C minor.

40:50

So that full progression is this. C

40:52

major, B

40:55

major, C

40:57

major, C

40:59

minor. You

41:04

came to the podcast for Creep, but quietly,

41:07

it's all one big music lesson

41:09

today. Before

41:12

we leave the world of Johnny,

41:14

of Johnny Greenwood, he

41:16

not only played guitar on this song, he also

41:18

plays piano. And it's kind

41:20

of a funny happy accident story behind

41:23

that because technically, he was

41:25

recorded playing piano throughout the entire track.

41:29

But back in the days of 1993 recording,

41:31

before the sort of computer screen

41:34

digital era, when you're mostly

41:36

recording the tape and you had faders that

41:38

were actual physical faders. If you forgot to

41:40

put the fader up when you

41:42

were bouncing to tape, the instrument

41:44

on that instrument in that

41:46

track, the stem, if you will, using our terminology,

41:48

you wouldn't hear it. So

41:50

they played through, they were bouncing a mix. Paul

41:53

Koldery, the producer, tells the story. And

41:56

as they got to the end, they realized that the piano part

41:58

had been muted the whole time it was in the stage. So

42:01

the piano is in the song,

42:03

it's at the very end, and I'll play that for you now, but

42:05

it's just interesting to think that had he not forgotten

42:07

to move the fader up, it would have been throughout

42:09

the entire song. That was their intent, was to have

42:11

this piano part the entire time. Let's hear it. Is

42:18

that minor? No. Okay. And

42:25

it's sort of perfect because it feels conclusive. Yes. It's

42:28

like a nice build to get to that. Yeah, I

42:30

love the piano. I mean, again, this is one of those

42:32

things where it's like, you want

42:34

to think it's intentional because it works so well. Right, to only have

42:36

it at the end. Yeah. But that was

42:38

just, they just messed up. Oh, that's crazy. Happy accident.

42:40

I love it. All right, we got

42:42

our guitars, we had our drums. This

42:44

is usually the high point, but after I had the cha-chonk,

42:46

you know, I was good. But let's

42:49

hear Tom's vocals. Kind of a hard song

42:51

to sing. Kind of a hard song to sing.

42:53

Yeah, I mean, like that part about she's running out the

42:55

door, you know, I

42:57

guess that would be the bridge. That part is

43:00

really high. It's very high. I

43:03

saw you sing that earlier and I was like, oh, that's really high. Yeah,

43:05

you saw me trying to sing it. You heard

43:07

me trying to sing it and you're like, that's higher than Blake

43:09

could get to. Fair enough. Fair cop.

43:11

But let's hear Tom's vocals. What do you want to

43:13

play for us? Let's start with the first verse.

43:21

Don't worry, it's the PG version. But

43:28

I'm a creep. You

43:32

know what's interesting about that transition to the chorus

43:34

is that vocally, he's not changing very much

43:36

the way he sings. The guitar does

43:38

all the heavy lifting of making it go to like

43:40

from 0 from 1 to 99. Yeah,

43:42

he doesn't go, but I'm a creep.

43:44

Like he doesn't do that. Right. He's

43:47

singing it pretty much the way he was in the verse. I know

43:49

the way he was in the verse. It's not that much different. There's

43:51

like a 2 percent, you know, change, which I

43:53

think is for the best. I think if he

43:55

was, what if it was the like, here, I'll

43:57

do it together. I'll just get, let's mute Tom

43:59

and just. I'm on crew! I'm

44:06

on crew! So

44:08

you don't want

44:11

that. Nobody wants that.

44:15

It's a weird move today in the studio. Nobody

44:17

wants that version? Did you want that version? I

44:19

didn't like that version at all. Y'all was speechless

44:21

with how much Yida's liked it. Well

44:25

let's listen to what you were just alluding to. This is the

44:27

second chorus. I'll play you the

44:29

whole chorus into what I'm going to

44:31

refer to. It's a bridge. Yeah,

44:34

but the Brits would call it a middle eight. Because

44:36

they've got a name for everything over there. And

44:39

here it is. Wow

44:51

that's a note! Damn!

44:54

Okay, couple of things. First, if

44:57

you were in the studio with us now,

44:59

when you hit that one note our speakers

45:01

started crackling. And Metallica has played in this

45:03

room. I know!

45:06

The voice was just a little too much

45:08

for the speakers here. But

45:11

more importantly, I didn't know what

45:13

he was singing in that part. And now

45:15

I understand why. Because he's singing She's Running

45:18

Out the Door, but he sings it in

45:20

just a crazy way. Can we hear just that line?

45:22

Can you pull up She's Running Out the Door? He's

45:25

doing so much on that lyric. I

45:38

mean, by the way, I feel like I heard some

45:40

laughing on the track. Did you hear that? You know

45:42

what's happening here? I

45:44

can tell you exactly what's happening here. What do

45:46

I hear there? You're absolutely right that they are

45:49

laughing. I didn't hear it in the track necessarily.

45:51

That's really funny. But this is

45:54

a tongue-in-cheek thing happening. I

45:56

Was speculating before about maybe the drummers

45:58

thinking... In a

46:00

little bit, I'm being Aerosmith. Thom Yorke

46:02

was one hundred percent consciously emulating something

46:04

else and I will now tell you

46:06

the story because it's an expensive one.

46:08

So what happened was as they were

46:11

playing the song O'brien. Noted

46:13

that these unusual chord changes he had heard before

46:15

and another song and when it was pointed out

46:17

to the band where it came from and up

46:20

a play what it was lifted from into some

46:22

moments. Time. York doubled

46:24

down on the connection between the two.

46:26

Oh wow, and he's like I'm missing

46:28

the melody from that others are. So

46:31

here's the song. It's. Called the

46:33

Air that I Breathed by The Holly's

46:35

written by Albert Hammond Than That's right,

46:37

Father Of Strokes Scissors, Albert Hammond Jr.

46:39

and My Case A Wedding Night and

46:41

Seventy Two. This version is recorded in

46:44

Nineteen Seventy Four. And. It's the holly's

46:46

the air that I breathe. Hours.

47:04

It's the same chord changes they would have

47:06

gotten away with it to have they only

47:08

did the courts a disco right we've talked

47:10

about on previous episodes cannot own chord changes.

47:12

Were going to be talking about the Ed

47:14

Sheeran case specifically a little and another episode

47:16

but that recently has demonstrated legally that you

47:18

can't sue somebody for use in court cases

47:20

where they got in trouble was when they

47:22

winked at each other and side. You know

47:24

what, you're right, it does. Selling the high

47:26

salaries. I think I'm going to nix melody

47:28

to the chorus and that's what we all

47:30

kind of. We heard though We heard the

47:32

smile on his face as he sings yeah,

47:34

laughter. Unfortunately, cost them a little bit

47:37

of money. I wait one more musicological thing

47:39

for the day and that I'll be enough

47:41

for the episodes. the phenomenon of using the

47:43

same chord changes which I already know is

47:45

not gonna catch on like this topic but

47:47

doesn't work for you. It's it's contrasts. So

47:50

guy like answer final I kind of

47:52

as heralds. Okay, well I don't I

47:55

found with a bylaw expected on pirate

47:57

and financial doublespeak. It's

47:59

a very. Funny sounding word that I do

48:01

not think is gonna catch on. The whisper

48:03

didn't even work with it's too many hard

48:06

sounds but when the same chord changes are

48:08

use from one song to the other it's

48:10

referred to as a contract. It's obviously the

48:12

basis of all jazz from one side to

48:14

the next. Our standards will come with me

48:16

of about the conference is gonna come from

48:19

exactly to become Oliver North and Ronald Reagan

48:21

say where I sort of other cancers which

48:23

is just give me the facts. So.

48:27

Originally that was a guitar solo until

48:30

at O'brien pointed out. That. The

48:32

core progressing was the same and dumb you know

48:34

the quote from Green what about it is was

48:36

it was funny to us and away with sort

48:38

of feeding into the fact of the court is

48:40

would seem so they were doubling down without may

48:42

be thinking about the copyright consequences which did some

48:44

took to bite them a little bit later. Albert

48:48

Hammond and Hazelwood's publishers did sue. By

48:50

the time on this phone quote were

48:52

Hammond said in two thousand and two

48:54

radio had came to them and said

48:56

you guys are right he got as

48:58

unique as we're not trying. I pretended

49:00

in happen and debt him. In the corridor

49:02

said because they were honest as we didn't

49:04

see them to the point of saying we

49:07

want the whole thing we did it just

49:09

getting little piece of it. So it's interesting

49:11

that the actual manner the like tone in

49:13

which they were approached of niceness residents a

49:15

not like have played into how much of

49:18

a percentage they'll have to have. That's.

49:22

Not the end of the story however

49:24

of the chord changes from the Holly's

49:26

Air that I Princess Because one more

49:28

song i'm an artist enters into the

49:30

equation and it's Loaded Del Rey with

49:32

her twenty seventeen son. Get Free! So

49:50

I don't know about you but my years I

49:52

certainly here. Not just the courts and is but

49:54

also the melody. And this is

49:56

where I get interesting because. Radio.

49:58

had deed file last lawsuit against Lana Del

50:01

Rey for that song in 2018. That's

50:04

interesting. So Lana tweets about

50:06

it and she

50:08

says Radiohead is demanding 100% of the royalties

50:10

of the song, which in a sense,

50:12

like, okay, I can see where they're coming from in

50:15

a sense because it is both the chords, which

50:17

they don't know, but the melody, which they do,

50:20

which is usually the basis for these lawsuits.

50:23

That's your interpolation right there, is that

50:25

melody. But I think what

50:27

ended up happening because they'd later dropped the lawsuit.

50:30

I think they were shamed out of the lawsuit

50:32

or their publishers may have been shamed out of

50:34

it because it's a little bit embarrassing that Radiohead

50:36

being the band that they are with so much

50:38

integrity and having had this experience themselves being sued

50:41

over the Holly song, it's a little bit lame.

50:43

And again, I don't think it's Radiohead. It's probably

50:45

the publishers and their lawyers that are going after

50:47

the 100%. They said

50:50

that she had offered 40%, they countered with

50:52

100, it became this back and forth. At the end

50:54

of the day, they're not listed in the official writing

50:56

credit. I think they may have just dropped it all

50:58

together. They may have just been like, that's a little

51:00

bit not our look. I think Radiohead may

51:02

have stepped in and said— It doesn't seem a little off brand.

51:05

It's very off brand and I wouldn't be surprised if the band

51:07

themselves came in and said to the publishers, guys,

51:09

this is not cool. Let's not do this.

51:11

Yeah. Diallo, I don't know if you're going to believe what I'm about

51:13

to say, but it's been 30 years since this

51:15

song was released. Shut up. You're lying. I'm

51:18

not going anywhere. Wow,

51:20

30 years is—that's really hard to believe. Why do you

51:22

think this song still resonates after all this? I think

51:24

it's just a really human emotion. We all feel that

51:26

way sometimes. I'm a creep. I'm a

51:29

weirdo. Also, the line, what the hell

51:31

am I doing here? I don't belong here. I

51:33

mean, who doesn't— Who doesn't feel

51:35

that way sometimes? Who doesn't feel like they

51:37

don't belong sometimes? There's so much pain in

51:39

the song. The

51:43

line, your skin makes me cry.

51:47

Dark, dark place. I feel like, yeah, I'm going to say

51:49

it one more time. Every time we

51:51

come into the studio, we're talking about music that we

51:53

love, and we love this song,

51:55

but this song has Some

51:57

darkness to it. And

52:00

I feel like it absolutely. You know to

52:02

have these kind of like lyrics. Flow.

52:04

Over you add. It

52:07

has been an interesting ah day a studious

52:09

but I will also say I was happy

52:11

to know that they weren't taking beings too

52:13

seriously. I don't think they were happening on

52:15

the tracks. Yeah, When he returned with idea

52:17

of that that was that was pretty good

52:19

to emulate Arc this song: these are dark

52:21

emotions and. Ah, that is something

52:23

that you know music and sometimes accomplish.

52:25

You know, sometimes we. Sometimes we need

52:27

that song. Yep, that is too depressing

52:29

for Bbc Radio One. Flood. I hope

52:31

this helps you feel better about the

52:33

balance of the songs darkness. With that

52:35

the sort of sense of humor your

52:37

Meds Now week that we found during

52:39

that interpreted as the expensive part of

52:41

the songs for the band do actually

52:43

know the origin of the album title.

52:45

Pablo Honey know, tell me it's so

52:47

it's These guys have this as a

52:49

humorous adequate who had gets credit enough

52:51

running as. As humor, the trial comes

52:53

from this. this is Pablo Honey which

52:56

is a track on. The. Jerky

52:58

Boys to. Have

53:01

no honey. Was

53:03

you know as much further

53:06

into says honey. Now

53:11

for people who didn't live through the

53:13

nineties, America is a explain how I

53:15

mean this was a nice social success

53:17

in my cause. Or two boys. Everybody

53:19

at some point was exposed to the

53:22

jerky boys as if these guys who

53:24

did you know pretty ballsy. I have

53:26

recorded prices hours in the cell phone

53:28

is set aside because I know we

53:30

all have a basic a number out

53:32

of the topic at random and call

53:34

somebody and say silly stuff they record

53:36

it and put out a Cd. By

53:39

the the idea of tom York city

53:41

around with the boys bright as funny

53:43

in itself isn't that great? Doesn't help

53:45

lighten the load of those. I'm American

53:47

as such, you know what? Ah, the

53:50

song does have have a lot of

53:52

dark energy and it's and sometimes you

53:54

need that darkness and that's why artist

53:56

continue to cover it. with her

53:58

by weezer as Actually, one of

54:01

my favorite all-time covers

54:03

of any song is Prince,

54:06

performing Creep at Coachella. Let's

54:09

play a little bit of that. I think if

54:11

you don't know this clip, find it on YouTube.

54:14

It's outstanding. It's pretty

54:16

amazing just watching this grainy footage

54:18

from 2008. Oh

54:32

yeah, we all had the iPhone 2 back then.

54:34

I got the FOMO for this one. FOMO

54:37

for death, Punk at Coachella, FOMO for Prince at

54:39

Coachella. There's a lot of Coachella to have FOMO

54:41

for. Gosh, Prince. Man,

54:43

we miss him. Okay, it's time for one more

54:45

song. This is where we share a new song

54:47

with you, the One Song Nation, and with each

54:50

other. Luxury, why don't you go first?

54:52

What is your one more song? This

54:55

song is from – we're

54:57

talking about songs that are from a number

55:00

of years ago, and then when you look at the number

55:02

of years, you're surprised because it didn't feel that long ago.

55:04

This is a song from 2000, which

55:07

I've recently been resuscitating, pun intended, the

55:09

name of the album, for

55:11

my DJ sets because it sounds so good

55:13

to me. It sounds so fresh to me.

55:15

If you listen to our previous episode about

55:17

Rihanna, for the one more song, I played

55:20

my latest single, which is called Strangely Familiar.

55:22

I was very inspired the last time we had

55:24

a DJ night together when I played this song.

55:27

This is adult with a period at the end.

55:29

It's hand to phone, the cordless

55:31

reverb. It's

55:33

a track

55:36

so

55:41

much. Adult

55:48

are a duo from Detroit. They use

55:50

I think 606s and like old drum

55:52

machines. They've got that pummeling 16th note

55:54

Marauder bass thing I talked about last

55:56

time. This just like right now, it

55:58

sounds right to me. I know it's a... quarter-century

56:00

old it feels really fresh to my ears. For

56:03

my one more song I'm gonna go

56:05

back about 10 years this guy out

56:07

of the UK, Lyndon J, had a

56:09

song called Be Like You. I really

56:11

wish it had been a bigger hit

56:15

both there and here but I really dug it.

56:17

This is Be Like You by Lyndon J. I

56:33

love that song. There's something really hypnotic about it.

56:35

You know I love it when the chord changes

56:37

are surprising. Yeah I wasn't expecting that second chord.

56:40

It's really satisfying. As always

56:42

if you have an idea for one more song

56:44

you can find us on Instagram or TikTok. And

56:46

if you made it this far I think that means you

56:49

like the show. So please don't forget to give us five

56:51

stars on Spotify or Apple Podcast, leave a review and share

56:53

it with someone that you think would like the show. Really

56:55

helps keep the podcast going. It sure does. It sure does.

56:58

Luxury helped me end this thing. Well

57:01

I'm producer, DJ, musicologist and songwriter and

57:03

creep, Luxury. And I'm

57:05

actor, writer, director and sometimes DJ Diallo

57:07

Reynolds. And always Weirdo. No I thought

57:09

it was mean. Oh man. I'm done

57:12

with this. I'm referring to the song lyrics of

57:14

course. This

57:16

episode is produced by Weirdo Matthew Nelson

57:19

with engineering from Marcus Hahn. Additional production

57:21

support from Casey Simon. The

57:23

show is executive produced by Kevin Hart,

57:25

Mike Stein, Brian Smiley, Eric Eddings, Eric

57:28

Waugh and Leslie Klaum. Most

57:54

legendary figures in music like Paul Simon,

57:56

Usher, Pete Townsend, Damon Albarn of the

57:59

Gorillas and... Missy Elliott, and you'll

58:01

hear from up and comers like jazz

58:03

artist, Levee, who told me about her

58:05

fast rise to fame during the pandemic.

58:07

Listen to Broken Record on the iHeartRadio

58:10

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58:12

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