March 1, 2025 • 42 mins
On this episode of Adventures in Vinyl Adam and I discuss the 3rd studio album by this English Rock band that won a grammy for Bester Alternative Music Album in 1998. That band is Radiohead and the album is Ok Computer.
Song of The Week!
Call Me - St Paul & The Broken Bones - Half the City
The Shakes - The Menzingers
Stump The Barron
Ocean's Avenue - Yellowcard - Ocean's Avenue
Radiohead - OK Computer
Genre: Alternative
Release Date: May 21, 199
7Studio(s): Canned Applause (Didcot, England), St Catherine’s Court (Bath, England), Church (Crouch End, England)
Producer(s): Nigel Godrich, Radiohead Label: Parlophone - Capitol
Length: 53:21
Number of Tracks: 12
For more information on the band Radiohead you can check out their website Radiohead Public Library at www.radiohead.com. IF you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Song of The Week!
Call Me - St Paul & The Broken Bones - Half the City
The Shakes - The Menzingers
Stump The Barron
Ocean's Avenue - Yellowcard - Ocean's Avenue
Radiohead - OK Computer
Genre: Alternative
Release Date: May 21, 199
7Studio(s): Canned Applause (Didcot, England), St Catherine’s Court (Bath, England), Church (Crouch End, England)
Producer(s): Nigel Godrich, Radiohead Label: Parlophone - Capitol
Length: 53:21
Number of Tracks: 12
For more information on the band Radiohead you can check out their website Radiohead Public Library at www.radiohead.com. IF you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On this episode of Adventures in Vinyl, Adam and I
discussed the third studio album by this English rock band
that won a Grammy for Best Alternative Music Album in
the Year in nineteen ninety eight. That band is Radiohead
and the album is Okay Computer, What's Up? What's up?
(00:28):
What's up? Hey?
Speaker 2 (00:29):
Hey?
Speaker 1 (00:29):
Another good good. It's another episode of Adventures in Vinyl.
I'm Todd Ward and Whitby is my favorite mid forties
bass player. Adam Baron, thank you very much for that.
You know, I try, I try, I try. What's going
on this week? Man? How are things going? Good? Good?
Speaker 2 (00:45):
Sun's birthday this week? Turns fourteen. Takes his permit test tomorrow.
Speaker 1 (00:49):
Awesome, awesome, awesome. Is he excited about driving? He is.
Speaker 2 (00:53):
He's been studying that thing backwards and forwards for like
a month now.
Speaker 1 (00:56):
So is he getting excited about Hey, I get to
drive the jeep? Is Yeah.
Speaker 2 (01:00):
I'm not gonna let him go on the interstate just yet,
but we'll drive around town.
Speaker 1 (01:03):
Yeah. That's cool. Yeah, that's cool. I you know, Connor
uh started driving the fore erunner and he only like
nearly killed us once. Oh, you know, it's not too bad.
Speaker 2 (01:14):
First time I got in my dad's truck, I backed
it into a concrete pole, put a debt in the bumper.
Speaker 1 (01:17):
Yeah, I ran over trash can. My dad's old He
had an oldsmoll Bill two door. You know what were those?
Speaker 2 (01:29):
Not?
Speaker 1 (01:29):
No, it's not but grant like uh, I forget what
it's called, but everyone knows. When you think about an ultimobile,
I think of before four to two. Yeah, but it
was more like it was, but the big the nineties
Cadillac style Yeah, like style bill two door. We had
use because we were broke.
Speaker 2 (01:45):
My my wife's cousin actually inherited one of those from
his parents recently.
Speaker 1 (01:49):
It was a great car. Yeah, good tanks man. Yeah,
you know, I'm a have you started seeing like tiny
desk on NPR, that type of stuff desk. Well, so
you can look on YouTube and this tiny desk where
they have musicians and things like this, and so they
usually have a lot of independent artists, you know, not
a lot of main name brands. So I tend to
watch that on YouTube, just get a new to stuff.
(02:10):
And so as I was watching watching a couple of
bands playing, he was on some playlist on YouTube. Yeah,
I came across this R and B soul band, and
they're called Saint Paul and the Broken Bones. Ah, and
they are from They are from Birmingham, Alabama, And so
I picked for my song of the Week. This is
(02:30):
a song called to Call Me. It's off their album
Half the City. Saint Paul and the Broken Bones. It's
an eight piece sole band out of Birmingham, Alabama. Okay,
Paul Jane Way is the lead singer, and he is
the nerdy is looking white dude. You've ever seen, like
Drew Carrey d carry the case so often anymore?
Speaker 2 (02:52):
Yeah?
Speaker 1 (02:52):
Yeah, I mean, but the guy, like I I've seen
them do some otis writing covers. Oh it's crazy. And
this song, it's awesome, This song called Me, I just
h that's good. Yeah. And he's like his movement. He's
got some James Brown, you know, he's doing some mashed potato.
He's doing a couple of things like that, which is
(03:13):
really cool. Yeah, I've heard this before. Yeah, it's I
reconsiz this.
Speaker 2 (03:17):
Yeah, you've heard of Paul and Bones. I've heard of them. Yeah,
I'd never honestly listen to much of it.
Speaker 1 (03:22):
I haven't listened to a lot of their albums, but
I've studied, just kind of like, hey, this is pretty cool. Yeah,
you know. I mean he seems to be and watching
some of their live shows, they kind of do a
lot of things. They've been around a long time, but
I'm still kind of getting their catalongs. I don't know
if I have an opinion yet or not, but I
like this song.
Speaker 2 (03:38):
It's always great when you find a band and they
already have like a significant back catalog. Yeah, you know,
then you dive in and go check out everything they've
done to date, and yeah, do.
Speaker 1 (03:47):
You find it of progression?
Speaker 2 (03:48):
And yeah, I find you're hitting gems and deep cuts,
the hits that you like, the hits that you don't like.
Speaker 1 (03:53):
It's great. I like that. And you've got some stuff too.
I think you had a interesting.
Speaker 2 (04:00):
Not going to find mine on Apple Music, that's for sure.
I tried searched all up and down all over Apple
Music and could not find this, But you will find
it on Spotify. It's off a split EP that the
Mensingers did with The Bouncing Souls, two very similar bands,
Oh Style.
Speaker 1 (04:16):
That's why when I was searching for it, I was like, oh,
I can't find it.
Speaker 2 (04:19):
Yeah. I searched by Bouncing Souls. I searched by Mensingers,
can't find it anywhere on there, but the epiece from
twenty thirteen. It's called the Shocking Split ep Each band
did two tracks, one original and then one cover of
the others. And this is the Sheiks. This was the
Menzinger's original track okay in there. And I had just
(04:40):
a random playlist playing at the gym during one of
my jiu jitsu classes I was teaching and I heard
the song. I thought, wait a second, this is the Mensingers.
I know that sound, but I don't recognize this song,
and I know most of the Menzinger's catalog, especially from
like twenty thirteen, twenty fourteen forward. So just quickly looked
at the phone to see what was playing, realized it
was this, and man, like, just a great song. That's cool, yeah, really,
(05:04):
just that Americana tinged punk rock and just great stuff.
Speaker 1 (05:07):
Man.
Speaker 2 (05:08):
So yeah, again, don't look on Apple Music. You only
find that on Spotify. This is the Sheiks by the Mensingers.
Speaker 1 (05:14):
Cool. Yeah, I like it. I gotta like it, all right,
you know what time it is? Adam, yep, let's crack
one for that crack one for it. All right, it's
another episode of adventurism vinyl, and that means another round
of stumped the baron on. Stump the baron. I pick
a random song from a random genre. I give Adam
a few clues, and with all his semi above average
musical knowledge, attempts against the artist, album and song title.
(05:37):
We used to keep score, but frankly, we just don't
give a day any more. I would argue with even
above average being in there.
Speaker 2 (05:45):
After the last few times, man, I have proven myself
sorely inept when it comes to this.
Speaker 1 (05:49):
So well, this year, Adam, we go back to the
year two thousand and three. This single is from a
pop punk band from Florida and was released on July
twenty second in the year two thousand and three. For
another clue, if you were play I ain't a certain sport,
the name of this band would indicate a disciplinary warning
in a highly popular global sport. Okay, so this should
be easy.
Speaker 3 (06:09):
Let's let's hear it all right, and three two one, Yeah,
So this is Yellow Card.
Speaker 1 (06:19):
This is Ocean Avenue. Yep. I don't remember the name
of the album.
Speaker 2 (06:24):
I have it buried somewhere in my CD collection, because
I did go out and buy this one.
Speaker 1 (06:29):
I did. I actually have this same CD as well.
Speaker 2 (06:31):
Yeah, yeah, yeah, I can't remember the name of the album.
Speaker 1 (06:37):
Man, do you want a clue about the album's name? Yeah, sure,
it's named for street Ocean Avenue. Okay, well, you know
I could have taken that guess. But at the same time, you.
Speaker 2 (06:47):
Know, I thought that was pretty I didn't. Two out
of three ain't bad. Hey, it's better than my record
of late you know.
Speaker 1 (06:53):
In brief, Yeah, that kind of pay I was like,
you should know this one, this will be good. Yeah, yeah,
all right.
Speaker 2 (06:58):
So actually this one when it was on the radio,
this wasn't when I got the album. This wasn't even
the song that I liked the best. There's some great,
you know, great tracks on the album. And one of
the things about Yellow Card had set them apart from
their peers at the time. If a violin in there, Yeah,
and they actually have a violinist that plays with a
punk pop band, punk pop band. Easy for you to say, album,
which is interesting, not something that you would see very often,
(07:21):
especially in that particular genre.
Speaker 1 (07:23):
Yeah, not cool, yeah, yeah, okay, computer okay, computer, not
to be confused with a not okay computer. Yeah, so
this was a big one.
Speaker 2 (07:34):
When you think too about this one and its influence
on the music that came thereafter out of the UK,
it's kind of undeniable.
Speaker 1 (07:41):
Yeah.
Speaker 2 (07:42):
I mean, I admittedly did not give this one a
lot of airplay myself. It was not one that I
gravitated towards. I would hear during the radio during the
release time frame.
Speaker 1 (07:52):
I was not in tune with this album. Yeah, No,
I wasn't either. I'd liked Pablo Honey, I appreciated Radiohead.
I like The Bens.
Speaker 2 (08:03):
Yeah, the Bens was great, like big plastic trees, you know,
high and dry, really good stuff on the Benz. When
this one came out, I think I heard it from
my friends like, oh, they've gone a whole different direction.
And sometimes when I hear that, I think, no, you know,
I don't. I don't know how I feel about that,
you know, because in all honesty, you know, for better
(08:24):
or worse, you kind of want your favorite bands to
stay your favorite bands by playing the same types of
things that they've always played. I think a lot of
us music fans end up in that specific space where
we don't want to give these musicians room in our
head to change right and Radiohead was one of those
for me, and this album was that that album where
they did make a significant change. They not as significant
(08:47):
as it later became, but this was the shift. This
represented that, hey, we're going to move away from that
really alternative sound and we're going to go into something
that's maybe a little bit more indish, lit a little different,
with some more electronic elements to it. But this listen
through was probably the first listen through of the album
(09:09):
as a whole that I had ever undertaken.
Speaker 1 (09:12):
Yeah, well, I take that back.
Speaker 2 (09:15):
I think I'd heard it like in a buddy of
mine's car a few times, but I never paid attention
to it until recently.
Speaker 1 (09:22):
I started paying attention to this album. I would say,
right sometime in fall, Okay, it was a round fall.
Speaker 2 (09:29):
It's a good time to pick up this particular album, Fall,
Wintertime Fall.
Speaker 1 (09:32):
Yeah, I mean I kind of picked it up and
I got and it was in the music video for
you know, it had the cartoons Paranoid Android and yeah.
But what I started seeing was a lot of bands
cover some of these songs, right yeah, And so you know,
as they're covering some stuff, I was like, Hey, that's off, okay, computer,
I kind of want to start listening to things more.
(09:54):
And then I just started listening to the album one
day and we'll get into that.
Speaker 2 (09:59):
Yeah, right, let's dive into it, man, right, Well, as
soon as you can find the test, I can find
the track. Because while you do that, I actually once
you want to talk a little bit about the album itself.
Speaker 1 (10:12):
Yeah, sure.
Speaker 2 (10:13):
So it was released in ninety seven May twenty first.
To be exact, the producer on this one was Nigel Godrich,
who had worked with some pretty significant artists. Man, I'm
talking about Beck, Paul McCartney, you two, ri Em Travis
and obviously Radiohead, who were co producers on the album.
Yep I was recorded at Canned Applause Studio and did
(10:33):
cut England, Saint Catherine's Court in Bath, England and Church
in crouch And England. So personnel on the album we
have Tom Todd, Tommy for you to say easy, for
me to say to easy, it is yeah, Tom York
who generally handles vocals, piano, keys and guitar, Johnny Greenwood
(10:57):
guitar and keyboard, Colin Greenwood his brother on the bass,
and Ed O'Brien guitar, backing vocals and Philip Selway on
the drums and percussion.
Speaker 1 (11:05):
Yep, did we cover release date? Yes, Okay we did, indeed?
All right, So the third studio album, Okay Computer. The
first track off the album is called Airbag. It comes
in at four minutes and forty four seconds.
Speaker 2 (11:16):
First out, first one, Third Man, Third A third studio album,
Third studio album for third first track on the first
track on the album, Third Studio. Everybody's gonna think that
we'd have it together today.
Speaker 1 (11:25):
Toddy, Well, they're probably right, they're probably right. Well we'll
start together. Hey, in the background, you've got Airbag, which
is the first track off the third studio album, Okay Computer.
Airbag clocks in at four minutes and forty four seconds.
Where were you when this came out? Nineteen ninety seven,
May of ninety seven.
Speaker 2 (11:45):
I had just freshly graduated high school.
Speaker 1 (11:50):
I just finished my It was a wow. Uh five
weeks after my dad died. Wow wow, that's when that
was so uh yeah yeah, because he died spring break,
which was in March, so probably six seven weeks after
six seven weeks right before your birthday. Wow. Yeah, yeah, yeah,
(12:12):
he died, uh, spring break and then I had uh, yeah,
and then I turned nineteen. Sorry, I was right after
your during No no, no, wait a minute, wait a minute,
a minute, No, because my sophomore year in cause was
when he died. So it's ninety ninety six, was freshman
ninety six to ninety seven, so yeah, this would have
been it would have been around that time that sophomore year.
(12:33):
You ain't much Yeah, so yeah, he passed away and uh,
and that's probably why I didn't pick up a lot
of this. So it wasn't until probably I was in
Fayville and uh, that next fall, right probably after that summer,
the fall of ninety seven, it's probably when I heard
(12:54):
Paranoid Android got youa first single? Yeah, the first single, well, yeah,
I would say that's probably in heavy rotation. The videos
were getting a lot to play on MTV, gotcha. Yeah.
Speaker 3 (13:04):
Yeah.
Speaker 2 (13:04):
I think I had just graduated high school and I
was admittedly into very different music than this.
Speaker 1 (13:08):
At the time. Yeah.
Speaker 2 (13:09):
I don't know that I ever remember paying attention to
this particular track in particular Airbag. I don't think I
ever remembered this one at the time, but going back
and listening to it, you can tell this isn't Pablo
Honey or the Bens.
Speaker 1 (13:21):
No No. And what's interesting is like they were influenced
by a lot of vant garde, avant garde jazz fusion albums, right, So,
like there's an album in the seventies, This Bitches Brew
by Miles Davis, as well as albums by like Elvis Costello,
R M. PJ. Harvey, the Beatles, all that kind of
influenced this Airbag. You know. The song itself is about
the illusion of safety offered by modern transit, modern transit.
(13:47):
That's the idea that wherever you go out on the
road you could be killed. Yeah, you know, it's just
just entirely sadly. Yeah, I mean there's a it's a
very The whole album has this type of theme to
it where they've gone way above and beyond and I
think the of safety, Yeah, the illusion of safety. Like
as you get deeper and deeper end of this album,
(14:09):
it's there's a lot to it.
Speaker 2 (14:11):
Yeah, a lot to it. Absolutely, Abe you ready for
the next one? No, let's keep it going honestly for now.
I So I want to talk. I like the Square,
I like the Spare. My words are just not coming
out around the sparse bass, the way that Tom's vocals
kind of float along. Yeah, warmth of the guitar, simplicity
of the lead line. It's a really good intro track
(14:32):
to the album and kind of gives you a heel
for where Radiohead is going.
Speaker 1 (14:36):
Yeah, I agree, versus where they had been before. I agree.
The first single off the album was called Paranoid Android.
It the clocks into six minutes to twenty three seconds.
It was released as a single on May twenty sixth,
nineteen ninety seven. The name of the song is taken
from Marvin the Paranoid Android from the popular science fiction
series The Hitchuck Our Sky tool Sees. Tom York wrote
(14:57):
the lyrics to the song following an unpleasant experience in
a Law Angeles bar. Imagine that.
Speaker 2 (15:01):
Okay, Yeah, so I've heard this one sporadically through the years,
but rarely. Honestly, I like the slow build crashes in
about halfway through. This is where you kind of start
to feel that radio Heads grown out of their quote
unquote old sound, Yeah, and they're moving into that more
experimental territory. This one was big. It was number three
on the UK Singles Chart. It was certified gold as
(15:22):
a single in the UK. The album as a whole
again number one on the UK Albums number twenty one
on the Billboard two hundred, number one in several European countries.
Speaker 1 (15:31):
It was in the top five in.
Speaker 2 (15:34):
Most of them, and I think it charted in the
top fifty and over twenty countries.
Speaker 1 (15:37):
So huge album.
Speaker 2 (15:40):
It's two times platinum in the US, five times plotinum
in the UK, and three times platinum in Europe, and
again largely on the strength of the singles, of which
Paranoid Android of course was one. It's a really interesting track.
It's not my favorite, but I appreciate it and I
respect it.
Speaker 1 (15:55):
Yeah, yeah, this what's interesting about this track, and this
is probably one of my most favorite on the album
and the reason why right. The song is broken up
into four different sections. The openings played in the key
of G minor. It has a temple of about eighty
two beats per minut The second section of the song
is written in the key of A minor. It retains
(16:15):
the same tempo that's the first section, but the third
section the tempo has reduced to sixty two beats per
minutent and splits the tone between the KYFC minor and
D minor and then the fourth and final section it's
where you have the instrumental reprise of the second movement
of the song. So it's it's it's very complicated. What
was great is there? It's it's Radioheads, probably one of
(16:36):
their longest songs. It's inspired by the Beatles, Happiness is
a warm Gun, and then it's got a flavor of
that Queen like Queen Bohemian Rhapsody. The inspirations for the song.
It's how it's broken up. It's just so interesting and
it's hard to play.
Speaker 2 (16:52):
Oh, it's the instruments individually in this song, and it's
there's a lot of complexity and.
Speaker 1 (16:59):
Here's here's one of that those transition points as it builds,
and it's just now, I just I get a little
bit of chills just every time I listen.
Speaker 2 (17:07):
When I say it's not my favorite, that's because there's
other songs on the album that I like better.
Speaker 1 (17:12):
Yeah, this is a really great song.
Speaker 2 (17:14):
Yeah, it's something like I don't want to discount the song.
Speaker 1 (17:17):
It's very good. Uh, there's just others I like better. Yeah,
I can see that, just because of the way the
song's broken up. I could see why it may not
be some people's flavor. Flavor, so you gotta respect it again.
Speaker 2 (17:32):
Like, there's a lot of complexity, a lot of musicianship
in here that when you break it down to its
its constituent components. Yeah, is there's a lot to appreciate it. Yeah,
there's that good stuff. Man transition.
Speaker 1 (17:44):
I know, we can sit there and listen to this.
Let me never get on with the damn episode in
a hurry man, you know, uh, you know. The the
problem is we sit there and listen, Oh, let's listen
to this part again, and then an hour later we'd
still be listening freaking paranoid android. So the third track
of the album is called Subterranean Homesick Alien. If you
ever wondered what a unique song.
Speaker 2 (18:06):
I love the bassline and yeah that's cool. I like
how it drives the track. Get the ethereal guitar work.
There is absolutely one that I'm going to be coming
back to. Yeah, it's a really great sign. I went to,
like on a warm summer night, you know, looking at
the stars, just floating along.
Speaker 1 (18:19):
Well, it's laid back. Can you have this build, you know,
you kind of have this build with airbag and paranoid
Android and then you kind of slumber a little bit
around Subterranean Homesick Alien. Another interesting fact, a factual fact
that Todd on this one is the title track isn't
reference to Bob Dylan's song Subterranean Homesick Blues. Okay, so
(18:41):
gods of factual.
Speaker 2 (18:42):
Facts, So we should probably dive a little bit into Radiohead.
Speaker 1 (18:46):
Who they are, where they come from.
Speaker 2 (18:47):
They actually met at a school in Abington, Oxfordshire, England
in the mid eighties. They were all within a few
years of each other. They originally started the band on
a Friday in nineteen eighty five and were offered a
deal by Island Records, but turned it down out wow
too to a desire to go to college first, I
get that. Uh. They didn't perform much over a four
year period, but they did end up signing a contract
(19:08):
with em I in nineteen ninety one. They changed their
name to radio Head after EMI suggested a name change.
Speaker 1 (19:13):
Was the name before they were on a Friday. Okay,
on a Friday, I thought it was. I thought it
was like on a Friday.
Speaker 2 (19:19):
Went No, they were called on a Friday, But yeah,
em I wanted to see a different name from the
band something that was a little bit more noticeable.
Speaker 1 (19:29):
Uh.
Speaker 2 (19:29):
So they released their debut full length, Pablo Honey in
ninety three. Uh It kind of failed initially in the UK,
but they started to find success with Creep, the first
single there overseas in Israel. In the US, The Benz
was released in ninety five. Creep was huge of the year.
Speaker 1 (19:44):
It was alwesome. It was just radio playassive, it was
all over the radio.
Speaker 2 (19:48):
Yeah. So yeah, The Benz came out in ninety five
and again was a huge hit. They went on tours
with R. E. M. And Atlantis. Morris Set and Okay.
Computer was the third album released in ninety seven, and
again it became just a a mega hit.
Speaker 1 (20:00):
Man.
Speaker 2 (20:01):
But may I really love Subterranean Homes of Alien. I
think this is a fantastic song. You're a quintessential deep
cut yeah album.
Speaker 1 (20:10):
Yeah, yeah, I mean as I listened through this album
several times, yeah, like, there hasn't been anything. No, I'm
just it's I've really shocked surprisingly right, just in my
listen throughs. I think got their first couple of listen
throughs in the fall. I was like, hey, I told them, Cole.
I was like, I think I made this find all
(20:31):
my this was list like that, I think I gotta
have it, And I've been listening to it like at
least every two weeks right since since I got it,
and I haven't had to. I haven't really done that
in an album in a long time. So it's like
I keep waiting to be like, Okay, I'm done for
I need a break from it, but I seem to
like want to put it on when I just need
(20:53):
something in the background to help me process stuff when
I really need to focus. And I found that this
this album is really good for that. It has that vibe. Yeah,
It's got that vibe, and that's that's what I really
dig Yeah, all right, man, So the next one, this
is interesting.
Speaker 2 (21:08):
So as soon as I started hearing that, you know
that minor key to start gentle acoustic ethereal vocals, it
reminded me right off the bat of David Bowie's Space Oddity. Yes,
that was the very first thing that came to minds.
I thought, this is this is like Space Odity two
point zero. Yeah, in a lot of ways, man, Like
(21:31):
I love the fuzzy bass lands right just in the
right spot in the song. But it also doesn't outstay
it's welcome. Yeah, it's just a really great song. If
we can get it to play, it's plain.
Speaker 3 (21:40):
It's weird that oh so being Oh.
Speaker 1 (21:45):
It's skipping, it's weird. Something's going on with the Apple Music.
Are a Bluetooth today? Okay, right on, Well let's just
move on. Yeah, yeah, yeah, I mean that's exit music
for film. Go check it out. Honestly, it's good stuff.
Speaker 2 (21:57):
And if you don't get a space audity parallel right
off the bat, I'd be incredibly surprised.
Speaker 1 (22:01):
Well, and this was actually kind of it was inspired
by like William Shakespeare, like Romeo and Juliet. I think
it was some of the inspiration for the exit music.
Speaker 2 (22:12):
What's interesting is that it's exit music for music for
a film and it's the fourth track on the album.
Speaker 1 (22:17):
I know. That's what's that's what's odd. That's what I
don't I could almost see it being the closing track
on the album. Yeah, all right, so number five, Yeah,
well this one works. This multi layered. I don't even know.
I'm so screwed up on stuff. But hey, the fifth
song on this terrible episode of Adventures of Difficulties, covering
(22:40):
one of the great albums that we're just not doing
any disservice to is Letdown, which clocks for minutes and
fifty nine seconds. It's an interesting song which is about
the fear of being trapped.
Speaker 2 (22:53):
Yeah, so the number twenty nine on the Billboard Hot
Modern Rock Charts was not a single, so it charted
out on its own strength.
Speaker 1 (23:00):
There you go.
Speaker 2 (23:00):
Yeah, I love the chiny guitars. I like the like
I feel like the tone of the bass and the
drums really lines up well with the vocals and guitar.
Speaker 1 (23:08):
Ye, it's another one of the songs it has just
kind of floating along.
Speaker 2 (23:13):
Yeah, I mean, I love the way the song picks
up the pace in the last third.
Speaker 1 (23:19):
Really, the whole song builds nicely throughout ends in a
really nice just single.
Speaker 2 (23:22):
Acoustic guitar chord YEP one of my personal favorites.
Speaker 1 (23:26):
On the album. I actually like the song a lot too. Yeah,
it's really great. I really like it in the background,
and it's just it's this whole thing like I've I've
been just I don't know why I am so drawn,
and I've been listening to this album so much. I
still don't understand, but I'm connecting with it in a
unique way, yeah, which is pretty cool. One. Sometimes it
(23:49):
doesn't hit right off the bat, you come back to
it later, and I mean, it's always twenty years later
and I'm like, where the hell is this album?
Speaker 2 (23:54):
Na?
Speaker 1 (23:54):
Why have than I've been this obsessed with it? Right?
Speaker 2 (23:56):
So, this is the song that I remember hearing over
and over again. Yes, and that's the wrong I think
of when I think of OK Computer.
Speaker 1 (24:04):
Yeah. Well, and this is a great one too. Write.
The video for this is outstanding. It's the second single.
It was released on August of ninety seven. It's Karma Police.
It clocks into four minutes and twenty one seconds. It
reached number one in Iceland, number ee on the UK chart,
numb fourteen in the US Billboard US Modern Rocks Tracks chart.
It's another just one of my favorite songs, and it's
(24:24):
influenced a ton of bands today. They talk about, Hey,
what's a song that really influenced you? And people talk hey, yeah,
Karma Police. Yeah.
Speaker 2 (24:34):
So certified platinum on its own strength in the UK
as a single, which is pretty impressive. This is the
first song off the album that I found myself enjoying
when it came out.
Speaker 1 (24:46):
Yeah.
Speaker 2 (24:46):
Again, I wasn't as into Paranoid Android at the time,
but this track has great dynamics. I love how the
chorus drops to just vocal harmony's piano and acoustic yep.
Speaker 1 (24:58):
Without any rhythm section there.
Speaker 2 (25:00):
The heavy feedback guitar loop at the end kind of
serves as a nice, nice thematic transition from this song
into bitter Happier which comes afterwards.
Speaker 1 (25:09):
It's just a fantastic song. Yeah, I mean never gets old, no.
I you know often we talk about hey, saturate on
the radio, we burns you out. Yeah, and I never
got burned out by this one, no, which is cool.
This one stands the test of time. Yeah, and again
highly highly influential happier Okay, so kind of more of
(25:30):
a thematic segue than anything fit or happier. Well, this
seventh track, right, it's the synthesized voice you hear in
the background. What's interesting is this is actually recited by Fred,
and Fred is a synthesized voice from the simple Text
application from a nineteen nineties Macintosh LC. Yeah. Two, So
(25:52):
you guys are computer nerds out there like I am,
and like a history of the you know, the way
the personal computer advanced in the nineties, you may I'm
the interesting. The other thing is there's another song subtrading
Homesick Alien, I do believe where you can hear a
little bit of Fred's voice in the background on some
of those lyrics. So if you listen to the album
closely into Good said headphones, you'll pick that up. So
(26:13):
that's what's interesting. Another factual factor. Okay, I'm better, happier,
all right, all right, coming into track eight. If you
like cow bell, I think you're gonna like this cynical
eight track of the album, like clocks in at three
minutes and fifty seconds. It's called Electioneering. Yeah.
Speaker 2 (26:29):
Great bass work again, I mean, Colin Greenwood on the
bass is just fantastic.
Speaker 1 (26:34):
It's got a fun guitar riff. Yeah, this one is
maybe not as much My Cup of Tea, even though
it's one of the more rocking numbers on the album.
I don't know, it just didn't grab me. It's the
cow Bell maybe, I mean, but I like songs, But
do you need more Cowboll or less Calvin more cow Bell,
Mark coult more calvill It's always what I mean, it's more.
(26:56):
This was just kind of there for me. Man.
Speaker 2 (26:57):
Yeah, again, it's it's a rocking tune compared to much
of the rest of the album. But I think by now,
like the vibe for me has been set and this
is almost interrupting it.
Speaker 1 (27:09):
Oh you think so, Well, this is a little bit different,
right because this track, the lyrics and everything, they're inspired
by the Pulltex riots that occurred in the nineties, and
that was introduced by you know, everyone's favorite prime minister
at the time, Margaret Thatcher. Oh so I believe with it,
you know, Iron Lady. Yeah. I think just based on
the premise and political nature, I kind of it's my
(27:29):
least favorite song on the album. Yeah, and I the
good news is I can tend to ignore pieces of
it and it doesn't really bother. Well, and here's the
thing too, you know, it's still not a bad song. No,
it's not. No, it's really not.
Speaker 2 (27:43):
No.
Speaker 1 (27:43):
It's just like, Okay, that's a good one.
Speaker 2 (27:44):
It's like comparing like what's good versus what is great? Yeah,
most most of this album is great.
Speaker 1 (27:49):
This is good. Yeah, it's if I heard it, I
wouldn't be like skip. Yeah, it's like, hey, that's a
good song. No, it's it's it's good.
Speaker 2 (27:57):
Just again, compared to the vibe that's been set for
me with the previous put six tracks, yep, I mean
seven tracks.
Speaker 1 (28:03):
Whatever it is.
Speaker 2 (28:04):
It's when it just it almost takes me out of
yeah vibe. Yeah, I got shown up all right. Track
number nine, We're Climbing Up the Walls. With four minutes
and forty five seconds, This multi layered night track was
inspired by York's time as an orderly in a mental
hospital during the care in the community policy of deinstitutionalizing
mental health patients, as well as a New York Times
(28:28):
article about serial killers.
Speaker 1 (28:30):
Okay, so a little bit deep there. What are your
thoughts on this one?
Speaker 2 (28:35):
I like it.
Speaker 1 (28:37):
I just it's kind of got a groove to it.
And that's what the whole album, you know, you talk about.
There's this kind of theme has got a groove. This
continues the groove, so like where you're like, wait a minute,
you kind of guys did something to me on electioneering,
and you're like, Okay, I'm right back with climbing up
the walls. I'm back in. Yeah, you almost you know,
(28:58):
I almost lost my groove, but now I got it back.
Speaker 2 (29:01):
Sure, you know, that's kind of what I think if
I'm thinking about the groove, it's a forgettable track that
at least keeps the groove going. Yeah, So that's my
take on it. If I had to pick a skip
on the album, this would be it for me.
Speaker 1 (29:16):
Yeah. But again, now that's on No. I mean, like
I said, it just continues the groove. It's like, Okay,
I know what this is. I can continue to do
this in the background. H huh. Right, that's what that
track is. Yeah, which isn't mean it's bad or do
you think it's just you know, normally we talk about
an album that's loaded with like six awesome singles and
all of that. I think what makes this album unique
(29:37):
is there's a lot of really good tracks. Right. You
may like some of them, may think some of them
are okay, but generally, the whole album itself is a
solid worth, a solid composition of material that represents what
the band was trying to display at the time, right,
or be known for. I think that's interesting And speaking
(29:57):
of solid work, man, let's move on to the next one. Yeah.
The last single off the album, that was released in
January twelfth of nineteen ninety eight, is called Nose Surprises.
It clocks in at three minutes and forty eight seconds.
This is my favorite song on the album.
Speaker 2 (30:10):
I could see one of It's just it's excellent, certified
platinum as a single in the UK. Haunting Pleasant, another
float along kind of track. It's just simple yet enjoyable
vocal melodies. I think the vocal melodies are really would
do it for me, along with that just really simple
(30:31):
lead line and how it just floats with the acoustic yep.
I mean, I could see the influence of this track
on bands like Keene and Travis Yep and a lot
of those britpop bands that came afterwards with the lower end.
Speaker 1 (30:45):
Yeah, this is like, this is like Keen Keen's.
Speaker 2 (30:48):
First You listened to Travis Driftwood, Yeah, like that song,
Like you could absolutely hear the influence of this on that,
Like Keen's first album. This whole sounds like this, Yeah exactly.
I mean, this is just a really great, truly great song.
Did we ever cover an album Mike Kenya, No, we
haven't covered King. I definitely want to cover Travis though, Yeah,
(31:11):
because them their album The Man who Oh, that one
was a big influence on me. So yeah, I'd be
interested in getting into some more of the Brit pop.
I love my britpop man, love it.
Speaker 1 (31:19):
Well it's interesting, like we're finding if you look at it,
we're starting to dig in a little bit more to
the britpop genre. Well, and in the nineties, this album
really helped establish the Brit pop sound going forward. It
was a massive influence. I mean, you like at kind
of the dynamics in the nineties, And this is what
continually fascinates me is we have this grunched alternative Brit
(31:43):
pop thing all happening in a ten year span. Yeah,
from like ninety two to two thousand and two, you
had a decade of there was just a massive evolution
of music. Huge, absolutely huge, and ye you know, okay
computer part of the fact.
Speaker 2 (31:59):
Yeah, I mean, folks to me, like, if I'm gonna
pick one song to recommend people off this album, it's
probably going to be no surprises. I mean, followed closely
by Karma Police. I like Subterranean Homesick Alien again, that's
my deep track that I really like. But man, this
song in particular just grabs me. Yeah, it grabs me
right off the bat, and it continues the vibe of
(32:21):
the album.
Speaker 1 (32:22):
Yeah, yeah, I agree, all right, we are getting close
to wrapping this one up with track number eleven, which
is Lucky clocks in in four minutes in nineteen seconds.
This was originally released on the Help album I Do
Believe and it was a nineteen ninety five charity compilation
that was organized by the charity War Child. Lucky was
(32:42):
recorded in five hours and I Believe Nigel Godric was
the producer. It was released as a single on the
album Okay Computer the day after Christmas. Okay So our
boxing day in Canada the New Year, nineteen ninety seven.
Speaker 2 (32:57):
Yeah, So, honestly I'd have picked Subterranean Homes, Gay and
over this one.
Speaker 1 (33:00):
As a single. Yeah. I agree, not that this is
a bad song at all. It just doesn't feel like
a single to me. Well, the fact that it was
kind of already released beforehand and then they had to
include it, They just kind of incorporated it. Yeah, it's like, well,
we got this sitting out there.
Speaker 2 (33:16):
Which surprises me, given the fact that it feels like
Okay Computer itself was a very intelligently strategically crafted album.
The inclusion of a previously recorded track.
Speaker 1 (33:29):
Is interesting unless it's like, hey, we this belongs in
the album.
Speaker 2 (33:35):
Hey.
Speaker 1 (33:35):
I always thought that this needed to be on this
type of album. I don't know why that's the case,
but you know that that's something for us to just speculate.
It's like, hey, should they have not included it? But
when you look at the theme of the song, and
maybe this earlier track is what said, hey, this is
what we want to develop, okay computer into that. I
don't know.
Speaker 2 (33:54):
So I'm not that I'm going to go back on
my comments on this song, but I'm going to say this,
despite the fact that I don't think it's a single personally,
it's a really solid song.
Speaker 1 (34:03):
Yeah, it's good.
Speaker 2 (34:04):
I like it. It's not one that I'm necessarily gonna
seek out, but it's it's good.
Speaker 1 (34:09):
Yeah, I'm going it continues the vibe of the album
and the whole album. It's just great to have on.
It's like one of those where no, just put it
on and listen, like just listen, and we talk about
so albums that are very few that you just want
to put on and it's good, awesome background music.
Speaker 2 (34:27):
Yeah, right, and this is just this song fits right
in with the rest of the album thematically. I just
don't understand why it was a single. That's my only
gripe with it. I'd have picked another one, but yeah,
all right on to the last one.
Speaker 1 (34:38):
All right. Wrapping up the album is the twelve track
of the album, called The Tourist Clocks In in five
minutes and twenty four seconds. The lyrics of the track
were written by Tom York and were inspired by his
experience of watching American tourists in France frantically trying to
see as many tourist attractions as possible. If we do
do that, well, you know, you gotta cram everything you
can and you limit amount of time because we all
(35:00):
up watching European Vacation. Yeah from you know, National Impoods,
European Vacation and that whole scene in France where they're
playing that punk song and I think and they're going
from like thing to thing the thing. Yeah, that's what
When I read the facts on it, I was like, oh, yeah,
that's that's interesting.
Speaker 2 (35:19):
So by ending the album with this track, I feel
like they're trying to create their go forward vibe. On
the exit, you could tell they've got a new direction
that's not likely to change. Maybe it's just me knowing
the future content that they're going to release, you know,
like Kida and things like that. But this sets the
tone for what's going to be coming in future years.
(35:42):
It's a good song, not my favorite, but I think
it fits the purpose well of again fitting in with
the vibe of the album.
Speaker 1 (35:48):
Well, it's almost like, okay, computer is like another debut
album for radio app you're re debuting who they are.
Speaker 2 (35:57):
Yeah, yeah, i'd agree with that. Yeah, I mean that's
kind of what I what I thought about. Yeah, all right,
So what are your final thoughts on this one?
Speaker 1 (36:03):
Man? I think when you when you look at Radiohead
today compared to I don't know, twenty five thirty years ago, right,
what they were able to do I think has influenced
a significant amount of you know, musicians today.
Speaker 2 (36:20):
Massively influence. I mean it's this album and others they've
released since.
Speaker 1 (36:23):
I mean, people look at it the peak position on
the you know, Billboard two hundred number one in the UK.
It's definitely one of those quintessential albums I think in
the britpop genre for the UK. It means something for
in the US, not near as once it does in
the UK. But I think a lot of these artists,
indie bands, alternative bands. Hey, they referenced a lot of
okay computers. When you look at the influence it's had
(36:47):
on music today, I give it a ten. I do wow,
just when when you look when I started doing research
on the album, I go look at covers, sure bands
that cover Yeah, And there's so many unique covers off
Karma Police, Paranoid Android, and then I think I even
(37:08):
found a subterranean Homesick Alien cover. So when I look
at people taking an artist work and it's inspiring them
to do a cover or something like that and make
it unique, it's a considered amount of influence.
Speaker 2 (37:23):
True homage covers, Yeah, sarcastic, these are true homage covers.
And there's song like there's this I think a band
out of Africa that did a cover of Yellow that
was just amazing, right, And I've seen similar covers. I've
seen more of those type of homage to different songs
of this album that.
Speaker 1 (37:44):
I've seen some others. So influence wise, I think it's
at nine and a half ten. As far as influential
to artists. Personal opinion of the quality of the album,
the songs I like and what I like to listen to,
it's probably eight and a half or nine. So that's
what I gave it was an eight and a half. Yeah,
I mean I agree with you on the influence.
Speaker 2 (38:03):
You can hear this is the spark for bands like that,
the change of sound of Feeder or cold Play parachutes.
Speaker 1 (38:11):
Yeah, so like Layman, Layman, guys, just listen.
Speaker 2 (38:14):
This is a good eight eight and a half album
for I mean, probably general people seven or eight because
they're not going to get it.
Speaker 1 (38:20):
Guys that like music like us are probably eight and
a half. Nine. But when you look at artists and
how an album, how an effect future genres, YEA and
what they did in nineteen ninety seven, I think that's
a ten. Yeah, sure absolutely.
Speaker 2 (38:38):
Now you know, summarize the two, you give it like
a nine and a quarter nine and a half, because
I really do like again, for me, it's an eight
and a half, but when I think about influence, I
got to push it up above nine because it is
massively influential in everything that's come in the last twenty
seven twenty eight years now.
Speaker 1 (38:55):
Yeah, it really is.
Speaker 2 (38:56):
And this one kind of as I was prepping for
this one and going through everything, this kind of bothered
me how I was ranking this album, sure right, And
I was like, no, because it's more than eight and
a half.
Speaker 1 (39:08):
It's more than just have to take into account the influence, right.
But what I liked about this one is, you know,
because we kind of had hiatus, I was able to
really dig in. And when you have a special album
like this, sometimes we delay an episode, spend a little
bit more time digging in just so we understand what
we think the album is. I mean, so for you,
(39:29):
would you buy it? Would you own this in your vinyl? Click?
Undred percent? Yeah, I'll be honest with you.
Speaker 2 (39:34):
I would say I was so impressed with this album
that since then, I've started diving into a lot of radioheads.
Speaker 1 (39:43):
Yeah, subsequent content. Kida is next, that's like my next
I'm gonna listen.
Speaker 2 (39:47):
Yeah, I'm I'm particularly going to dive into that one,
but I'm going to start after okay computer and just
start diving into like sequentially. Yeah, what they've done, because
this one really giving it a chance, giving it a listen. Yeah,
I was just impressed. Man, I should have given this
a chance a lot sooner. But I think that's just
because now I'm ready to hear it. Whereas back then,
(40:10):
I you know, I was listening that was the summer
of after my senior year. I think I was listening
to like def Leppard and Poison Still and then you know,
Ozzy Osbourne and Well, And I think I think I
was into an eighties metal kick because I was hanging
out by the pool with my buddies, playing in a
band that did a lot of that kind of stuff,
Guns and.
Speaker 1 (40:26):
Well, and I was I was mainly trying to figure out, Hey,
I really like grunge and you know, a wait, like
I was kind of like all about I wish grunge
was back. I was listening to all the music that
my parents wouldn't let me listen to when I was
a kid. I mean, I was still listening to Alison Chains.
You know STP had a lot of stuff. Yeah, you
know at that time. Oh yeah, I mean that's kind
(40:46):
of where I was at. Sure. But hey, we're wrapping
up another episode of the Adventures in Vinyl. Hey, if
you like some of the bands we checked out today,
be sure to check out Say Paul and the Broken Bones.
You can find them on Spotify, iTunes, check out their website,
buy a vinyl. Part of the cool featured on Stuff
the baron his Yellow Card. Check out that band Oceans Avenue.
(41:07):
I'm sure you guys do that. The Mensingers. Be sure
to check out Mensinger's that cover. If you just like
a band in general, hell, listen to some men singers.
You want some upbeat punk that makes you feel good
after a hard day's work.
Speaker 2 (41:19):
For you, just.
Speaker 1 (41:23):
Anything from the Mensingers, Yes, sir, And with that we
close another episode of Ventures in Vinyl. For more information
on the band Radiohead, you can check out their website
that's called Radiohead Public Library at www dot Radiohead dot com.
If you enjoyed this podcast, be sure to check us
out at our website at www dot Adventures at Vinyl
dot com, where you can find links to our episodes,
(41:44):
and through our support section, you can find your very
own Ventures in Vinyl t shirt. Follow us on Instagram
at Adventures dot n dot Vinyl, and be sure to
subscribe to the podcast and leave a review. Follow at
them on Instagram at eat dot Prey dot arm bar
and myself at Todd David Ward. With that on Todd
Ward and I'm Adam Baron, and we would see you
next week on another episode of the Ventures in Vinald,
(42:06):
where we will feature the album.
Speaker 2 (42:10):
We Don't Know we decided, we decided on one and
dang it, I can't my bloody Valentine.
Speaker 1 (42:15):
All right, let's read this. We'll just rewind that just
real quick. And with that, I'm Todd Ward and I'm
Adam Baron and we will see you next time on
another episode of The Ventures and vinal where we will
be featuring the album Loveless by My bloody Valentine. Awesome.
It's not working, jeez, Like nothing works today, like where
(42:40):
I'm just gonna complain throughout the whole. So whoever listens
to the end and they're like, just turn it off
after they start doing it. I'm just gonna rant throughout
the whole restrain. My brain was not working, like I
just can't get the button. I could, I could make that,
I could make the words in my head, but I
could not speak them through my mouth. Hey, well, we'll
see you next week.
On this episode of Adventures in Vinyl, Adam and I
discussed the third studio album by this English rock band
that won a Grammy for Best Alternative Music Album in
the Year in nineteen ninety eight. That band is Radiohead
and the album is Okay Computer, What's Up? What's up?
(00:28):
What's up? Hey?
Speaker 2 (00:29):
Hey?
Speaker 1 (00:29):
Another good good. It's another episode of Adventures in Vinyl.
I'm Todd Ward and Whitby is my favorite mid forties
bass player. Adam Baron, thank you very much for that.
You know, I try, I try, I try. What's going
on this week? Man? How are things going? Good? Good?
Speaker 2 (00:45):
Sun's birthday this week? Turns fourteen. Takes his permit test tomorrow.
Speaker 1 (00:49):
Awesome, awesome, awesome. Is he excited about driving? He is.
Speaker 2 (00:53):
He's been studying that thing backwards and forwards for like
a month now.
Speaker 1 (00:56):
So is he getting excited about Hey, I get to
drive the jeep? Is Yeah.
Speaker 2 (01:00):
I'm not gonna let him go on the interstate just yet,
but we'll drive around town.
Speaker 1 (01:03):
Yeah. That's cool. Yeah, that's cool. I you know, Connor
uh started driving the fore erunner and he only like
nearly killed us once. Oh, you know, it's not too bad.
Speaker 2 (01:14):
First time I got in my dad's truck, I backed
it into a concrete pole, put a debt in the bumper.
Speaker 1 (01:17):
Yeah, I ran over trash can. My dad's old He
had an oldsmoll Bill two door. You know what were those?
Speaker 2 (01:29):
Not?
Speaker 1 (01:29):
No, it's not but grant like uh, I forget what
it's called, but everyone knows. When you think about an ultimobile,
I think of before four to two. Yeah, but it
was more like it was, but the big the nineties
Cadillac style Yeah, like style bill two door. We had
use because we were broke.
Speaker 2 (01:45):
My my wife's cousin actually inherited one of those from
his parents recently.
Speaker 1 (01:49):
It was a great car. Yeah, good tanks man. Yeah,
you know, I'm a have you started seeing like tiny
desk on NPR, that type of stuff desk. Well, so
you can look on YouTube and this tiny desk where
they have musicians and things like this, and so they
usually have a lot of independent artists, you know, not
a lot of main name brands. So I tend to
watch that on YouTube, just get a new to stuff.
(02:10):
And so as I was watching watching a couple of
bands playing, he was on some playlist on YouTube. Yeah,
I came across this R and B soul band, and
they're called Saint Paul and the Broken Bones. Ah, and
they are from They are from Birmingham, Alabama, And so
I picked for my song of the Week. This is
(02:30):
a song called to Call Me. It's off their album
Half the City. Saint Paul and the Broken Bones. It's
an eight piece sole band out of Birmingham, Alabama. Okay,
Paul Jane Way is the lead singer, and he is
the nerdy is looking white dude. You've ever seen, like
Drew Carrey d carry the case so often anymore?
Speaker 2 (02:52):
Yeah?
Speaker 1 (02:52):
Yeah, I mean, but the guy, like I I've seen
them do some otis writing covers. Oh it's crazy. And
this song, it's awesome, This song called Me, I just
h that's good. Yeah. And he's like his movement. He's
got some James Brown, you know, he's doing some mashed potato.
He's doing a couple of things like that, which is
(03:13):
really cool. Yeah, I've heard this before. Yeah, it's I
reconsiz this.
Speaker 2 (03:17):
Yeah, you've heard of Paul and Bones. I've heard of them. Yeah,
I'd never honestly listen to much of it.
Speaker 1 (03:22):
I haven't listened to a lot of their albums, but
I've studied, just kind of like, hey, this is pretty cool. Yeah,
you know. I mean he seems to be and watching
some of their live shows, they kind of do a
lot of things. They've been around a long time, but
I'm still kind of getting their catalongs. I don't know
if I have an opinion yet or not, but I
like this song.
Speaker 2 (03:38):
It's always great when you find a band and they
already have like a significant back catalog. Yeah, you know,
then you dive in and go check out everything they've
done to date, and yeah, do.
Speaker 1 (03:47):
You find it of progression?
Speaker 2 (03:48):
And yeah, I find you're hitting gems and deep cuts,
the hits that you like, the hits that you don't like.
Speaker 1 (03:53):
It's great. I like that. And you've got some stuff too.
I think you had a interesting.
Speaker 2 (04:00):
Not going to find mine on Apple Music, that's for sure.
I tried searched all up and down all over Apple
Music and could not find this, But you will find
it on Spotify. It's off a split EP that the
Mensingers did with The Bouncing Souls, two very similar bands,
Oh Style.
Speaker 1 (04:16):
That's why when I was searching for it, I was like, oh,
I can't find it.
Speaker 2 (04:19):
Yeah. I searched by Bouncing Souls. I searched by Mensingers,
can't find it anywhere on there, but the epiece from
twenty thirteen. It's called the Shocking Split ep Each band
did two tracks, one original and then one cover of
the others. And this is the Sheiks. This was the
Menzinger's original track okay in there. And I had just
(04:40):
a random playlist playing at the gym during one of
my jiu jitsu classes I was teaching and I heard
the song. I thought, wait a second, this is the Mensingers.
I know that sound, but I don't recognize this song,
and I know most of the Menzinger's catalog, especially from
like twenty thirteen, twenty fourteen forward. So just quickly looked
at the phone to see what was playing, realized it
was this, and man, like, just a great song. That's cool, yeah, really,
(05:04):
just that Americana tinged punk rock and just great stuff.
Speaker 1 (05:07):
Man.
Speaker 2 (05:08):
So yeah, again, don't look on Apple Music. You only
find that on Spotify. This is the Sheiks by the Mensingers.
Speaker 1 (05:14):
Cool. Yeah, I like it. I gotta like it, all right,
you know what time it is? Adam, yep, let's crack
one for that crack one for it. All right, it's
another episode of adventurism vinyl, and that means another round
of stumped the baron on. Stump the baron. I pick
a random song from a random genre. I give Adam
a few clues, and with all his semi above average
musical knowledge, attempts against the artist, album and song title.
(05:37):
We used to keep score, but frankly, we just don't
give a day any more. I would argue with even
above average being in there.
Speaker 2 (05:45):
After the last few times, man, I have proven myself
sorely inept when it comes to this.
Speaker 1 (05:49):
So well, this year, Adam, we go back to the
year two thousand and three. This single is from a
pop punk band from Florida and was released on July
twenty second in the year two thousand and three. For
another clue, if you were play I ain't a certain sport,
the name of this band would indicate a disciplinary warning
in a highly popular global sport. Okay, so this should
be easy.
Speaker 3 (06:09):
Let's let's hear it all right, and three two one, Yeah,
So this is Yellow Card.
Speaker 1 (06:19):
This is Ocean Avenue. Yep. I don't remember the name
of the album.
Speaker 2 (06:24):
I have it buried somewhere in my CD collection, because
I did go out and buy this one.
Speaker 1 (06:29):
I did. I actually have this same CD as well.
Speaker 2 (06:31):
Yeah, yeah, yeah, I can't remember the name of the album.
Speaker 1 (06:37):
Man, do you want a clue about the album's name? Yeah, sure,
it's named for street Ocean Avenue. Okay, well, you know
I could have taken that guess. But at the same time, you.
Speaker 2 (06:47):
Know, I thought that was pretty I didn't. Two out
of three ain't bad. Hey, it's better than my record
of late you know.
Speaker 1 (06:53):
In brief, Yeah, that kind of pay I was like,
you should know this one, this will be good. Yeah, yeah,
all right.
Speaker 2 (06:58):
So actually this one when it was on the radio,
this wasn't when I got the album. This wasn't even
the song that I liked the best. There's some great,
you know, great tracks on the album. And one of
the things about Yellow Card had set them apart from
their peers at the time. If a violin in there, Yeah,
and they actually have a violinist that plays with a
punk pop band, punk pop band. Easy for you to say, album,
which is interesting, not something that you would see very often,
(07:21):
especially in that particular genre.
Speaker 1 (07:23):
Yeah, not cool, yeah, yeah, okay, computer okay, computer, not
to be confused with a not okay computer. Yeah, so
this was a big one.
Speaker 2 (07:34):
When you think too about this one and its influence
on the music that came thereafter out of the UK,
it's kind of undeniable.
Speaker 1 (07:41):
Yeah.
Speaker 2 (07:42):
I mean, I admittedly did not give this one a
lot of airplay myself. It was not one that I
gravitated towards. I would hear during the radio during the
release time frame.
Speaker 1 (07:52):
I was not in tune with this album. Yeah, No,
I wasn't either. I'd liked Pablo Honey, I appreciated Radiohead.
I like The Bens.
Speaker 2 (08:03):
Yeah, the Bens was great, like big plastic trees, you know,
high and dry, really good stuff on the Benz. When
this one came out, I think I heard it from
my friends like, oh, they've gone a whole different direction.
And sometimes when I hear that, I think, no, you know,
I don't. I don't know how I feel about that,
you know, because in all honesty, you know, for better
(08:24):
or worse, you kind of want your favorite bands to
stay your favorite bands by playing the same types of
things that they've always played. I think a lot of
us music fans end up in that specific space where
we don't want to give these musicians room in our
head to change right and Radiohead was one of those
for me, and this album was that that album where
they did make a significant change. They not as significant
(08:47):
as it later became, but this was the shift. This
represented that, hey, we're going to move away from that
really alternative sound and we're going to go into something
that's maybe a little bit more indish, lit a little different,
with some more electronic elements to it. But this listen
through was probably the first listen through of the album
(09:09):
as a whole that I had ever undertaken.
Speaker 1 (09:12):
Yeah, well, I take that back.
Speaker 2 (09:15):
I think I'd heard it like in a buddy of
mine's car a few times, but I never paid attention
to it until recently.
Speaker 1 (09:22):
I started paying attention to this album. I would say,
right sometime in fall, Okay, it was a round fall.
Speaker 2 (09:29):
It's a good time to pick up this particular album, Fall,
Wintertime Fall.
Speaker 1 (09:32):
Yeah, I mean I kind of picked it up and
I got and it was in the music video for
you know, it had the cartoons Paranoid Android and yeah.
But what I started seeing was a lot of bands
cover some of these songs, right yeah, And so you know,
as they're covering some stuff, I was like, Hey, that's off, okay, computer,
I kind of want to start listening to things more.
(09:54):
And then I just started listening to the album one
day and we'll get into that.
Speaker 2 (09:59):
Yeah, right, let's dive into it, man, right, Well, as
soon as you can find the test, I can find
the track. Because while you do that, I actually once
you want to talk a little bit about the album itself.
Speaker 1 (10:12):
Yeah, sure.
Speaker 2 (10:13):
So it was released in ninety seven May twenty first.
To be exact, the producer on this one was Nigel Godrich,
who had worked with some pretty significant artists. Man, I'm
talking about Beck, Paul McCartney, you two, ri Em Travis
and obviously Radiohead, who were co producers on the album.
Yep I was recorded at Canned Applause Studio and did
(10:33):
cut England, Saint Catherine's Court in Bath, England and Church
in crouch And England. So personnel on the album we
have Tom Todd, Tommy for you to say easy, for
me to say to easy, it is yeah, Tom York
who generally handles vocals, piano, keys and guitar, Johnny Greenwood
(10:57):
guitar and keyboard, Colin Greenwood his brother on the bass,
and Ed O'Brien guitar, backing vocals and Philip Selway on
the drums and percussion.
Speaker 1 (11:05):
Yep, did we cover release date? Yes, Okay we did, indeed?
All right, So the third studio album, Okay Computer. The
first track off the album is called Airbag. It comes
in at four minutes and forty four seconds.
Speaker 2 (11:16):
First out, first one, Third Man, Third A third studio album,
Third studio album for third first track on the first
track on the album, Third Studio. Everybody's gonna think that
we'd have it together today.
Speaker 1 (11:25):
Toddy, Well, they're probably right, they're probably right. Well we'll
start together. Hey, in the background, you've got Airbag, which
is the first track off the third studio album, Okay Computer.
Airbag clocks in at four minutes and forty four seconds.
Where were you when this came out? Nineteen ninety seven,
May of ninety seven.
Speaker 2 (11:45):
I had just freshly graduated high school.
Speaker 1 (11:50):
I just finished my It was a wow. Uh five
weeks after my dad died. Wow wow, that's when that
was so uh yeah yeah, because he died spring break,
which was in March, so probably six seven weeks after
six seven weeks right before your birthday. Wow. Yeah, yeah, yeah,
(12:12):
he died, uh, spring break and then I had uh, yeah,
and then I turned nineteen. Sorry, I was right after
your during No no, no, wait a minute, wait a minute,
a minute, No, because my sophomore year in cause was
when he died. So it's ninety ninety six, was freshman
ninety six to ninety seven, so yeah, this would have
been it would have been around that time that sophomore year.
(12:33):
You ain't much Yeah, so yeah, he passed away and uh,
and that's probably why I didn't pick up a lot
of this. So it wasn't until probably I was in
Fayville and uh, that next fall, right probably after that summer,
the fall of ninety seven, it's probably when I heard
(12:54):
Paranoid Android got youa first single? Yeah, the first single, well, yeah,
I would say that's probably in heavy rotation. The videos
were getting a lot to play on MTV, gotcha. Yeah.
Speaker 3 (13:04):
Yeah.
Speaker 2 (13:04):
I think I had just graduated high school and I
was admittedly into very different music than this.
Speaker 1 (13:08):
At the time. Yeah.
Speaker 2 (13:09):
I don't know that I ever remember paying attention to
this particular track in particular Airbag. I don't think I
ever remembered this one at the time, but going back
and listening to it, you can tell this isn't Pablo
Honey or the Bens.
Speaker 1 (13:21):
No No. And what's interesting is like they were influenced
by a lot of vant garde, avant garde jazz fusion albums, right, So,
like there's an album in the seventies, This Bitches Brew
by Miles Davis, as well as albums by like Elvis Costello,
R M. PJ. Harvey, the Beatles, all that kind of
influenced this Airbag. You know. The song itself is about
the illusion of safety offered by modern transit, modern transit.
(13:47):
That's the idea that wherever you go out on the
road you could be killed. Yeah, you know, it's just
just entirely sadly. Yeah, I mean there's a it's a
very The whole album has this type of theme to
it where they've gone way above and beyond and I
think the of safety, Yeah, the illusion of safety. Like
as you get deeper and deeper end of this album,
(14:09):
it's there's a lot to it.
Speaker 2 (14:11):
Yeah, a lot to it. Absolutely, Abe you ready for
the next one? No, let's keep it going honestly for now.
I So I want to talk. I like the Square,
I like the Spare. My words are just not coming
out around the sparse bass, the way that Tom's vocals
kind of float along. Yeah, warmth of the guitar, simplicity
of the lead line. It's a really good intro track
(14:32):
to the album and kind of gives you a heel
for where Radiohead is going.
Speaker 1 (14:36):
Yeah, I agree, versus where they had been before. I agree.
The first single off the album was called Paranoid Android.
It the clocks into six minutes to twenty three seconds.
It was released as a single on May twenty sixth,
nineteen ninety seven. The name of the song is taken
from Marvin the Paranoid Android from the popular science fiction
series The Hitchuck Our Sky tool Sees. Tom York wrote
(14:57):
the lyrics to the song following an unpleasant experience in
a Law Angeles bar. Imagine that.
Speaker 2 (15:01):
Okay, Yeah, so I've heard this one sporadically through the years,
but rarely. Honestly, I like the slow build crashes in
about halfway through. This is where you kind of start
to feel that radio Heads grown out of their quote
unquote old sound, Yeah, and they're moving into that more
experimental territory. This one was big. It was number three
on the UK Singles Chart. It was certified gold as
(15:22):
a single in the UK. The album as a whole
again number one on the UK Albums number twenty one
on the Billboard two hundred, number one in several European countries.
Speaker 1 (15:31):
It was in the top five in.
Speaker 2 (15:34):
Most of them, and I think it charted in the
top fifty and over twenty countries.
Speaker 1 (15:37):
So huge album.
Speaker 2 (15:40):
It's two times platinum in the US, five times plotinum
in the UK, and three times platinum in Europe, and
again largely on the strength of the singles, of which
Paranoid Android of course was one. It's a really interesting track.
It's not my favorite, but I appreciate it and I
respect it.
Speaker 1 (15:55):
Yeah, yeah, this what's interesting about this track, and this
is probably one of my most favorite on the album
and the reason why right. The song is broken up
into four different sections. The openings played in the key
of G minor. It has a temple of about eighty
two beats per minut The second section of the song
is written in the key of A minor. It retains
(16:15):
the same tempo that's the first section, but the third
section the tempo has reduced to sixty two beats per
minutent and splits the tone between the KYFC minor and
D minor and then the fourth and final section it's
where you have the instrumental reprise of the second movement
of the song. So it's it's it's very complicated. What
was great is there? It's it's Radioheads, probably one of
(16:36):
their longest songs. It's inspired by the Beatles, Happiness is
a warm Gun, and then it's got a flavor of
that Queen like Queen Bohemian Rhapsody. The inspirations for the song.
It's how it's broken up. It's just so interesting and
it's hard to play.
Speaker 2 (16:52):
Oh, it's the instruments individually in this song, and it's
there's a lot of complexity and.
Speaker 1 (16:59):
Here's here's one of that those transition points as it builds,
and it's just now, I just I get a little
bit of chills just every time I listen.
Speaker 2 (17:07):
When I say it's not my favorite, that's because there's
other songs on the album that I like better.
Speaker 1 (17:12):
Yeah, this is a really great song.
Speaker 2 (17:14):
Yeah, it's something like I don't want to discount the song.
Speaker 1 (17:17):
It's very good. Uh, there's just others I like better. Yeah,
I can see that, just because of the way the
song's broken up. I could see why it may not
be some people's flavor. Flavor, so you gotta respect it again.
Speaker 2 (17:32):
Like, there's a lot of complexity, a lot of musicianship
in here that when you break it down to its
its constituent components. Yeah, is there's a lot to appreciate it. Yeah,
there's that good stuff. Man transition.
Speaker 1 (17:44):
I know, we can sit there and listen to this.
Let me never get on with the damn episode in
a hurry man, you know, uh, you know. The the
problem is we sit there and listen, Oh, let's listen
to this part again, and then an hour later we'd
still be listening freaking paranoid android. So the third track
of the album is called Subterranean Homesick Alien. If you
ever wondered what a unique song.
Speaker 2 (18:06):
I love the bassline and yeah that's cool. I like
how it drives the track. Get the ethereal guitar work.
There is absolutely one that I'm going to be coming
back to. Yeah, it's a really great sign. I went to,
like on a warm summer night, you know, looking at
the stars, just floating along.
Speaker 1 (18:19):
Well, it's laid back. Can you have this build, you know,
you kind of have this build with airbag and paranoid
Android and then you kind of slumber a little bit
around Subterranean Homesick Alien. Another interesting fact, a factual fact
that Todd on this one is the title track isn't
reference to Bob Dylan's song Subterranean Homesick Blues. Okay, so
(18:41):
gods of factual.
Speaker 2 (18:42):
Facts, So we should probably dive a little bit into Radiohead.
Speaker 1 (18:46):
Who they are, where they come from.
Speaker 2 (18:47):
They actually met at a school in Abington, Oxfordshire, England
in the mid eighties. They were all within a few
years of each other. They originally started the band on
a Friday in nineteen eighty five and were offered a
deal by Island Records, but turned it down out wow
too to a desire to go to college first, I
get that. Uh. They didn't perform much over a four
year period, but they did end up signing a contract
(19:08):
with em I in nineteen ninety one. They changed their
name to radio Head after EMI suggested a name change.
Speaker 1 (19:13):
Was the name before they were on a Friday. Okay,
on a Friday, I thought it was. I thought it
was like on a Friday.
Speaker 2 (19:19):
Went No, they were called on a Friday, But yeah,
em I wanted to see a different name from the
band something that was a little bit more noticeable.
Speaker 1 (19:29):
Uh.
Speaker 2 (19:29):
So they released their debut full length, Pablo Honey in
ninety three. Uh It kind of failed initially in the UK,
but they started to find success with Creep, the first
single there overseas in Israel. In the US, The Benz
was released in ninety five. Creep was huge of the year.
Speaker 1 (19:44):
It was alwesome. It was just radio playassive, it was
all over the radio.
Speaker 2 (19:48):
Yeah. So yeah, The Benz came out in ninety five
and again was a huge hit. They went on tours
with R. E. M. And Atlantis. Morris Set and Okay.
Computer was the third album released in ninety seven, and
again it became just a a mega hit.
Speaker 1 (20:00):
Man.
Speaker 2 (20:01):
But may I really love Subterranean Homes of Alien. I
think this is a fantastic song. You're a quintessential deep
cut yeah album.
Speaker 1 (20:10):
Yeah, yeah, I mean as I listened through this album
several times, yeah, like, there hasn't been anything. No, I'm
just it's I've really shocked surprisingly right, just in my
listen throughs. I think got their first couple of listen
throughs in the fall. I was like, hey, I told them, Cole.
I was like, I think I made this find all
(20:31):
my this was list like that, I think I gotta
have it, And I've been listening to it like at
least every two weeks right since since I got it,
and I haven't had to. I haven't really done that
in an album in a long time. So it's like
I keep waiting to be like, Okay, I'm done for
I need a break from it, but I seem to
like want to put it on when I just need
(20:53):
something in the background to help me process stuff when
I really need to focus. And I found that this
this album is really good for that. It has that vibe. Yeah,
It's got that vibe, and that's that's what I really
dig Yeah, all right, man, So the next one, this
is interesting.
Speaker 2 (21:08):
So as soon as I started hearing that, you know
that minor key to start gentle acoustic ethereal vocals, it
reminded me right off the bat of David Bowie's Space Oddity. Yes,
that was the very first thing that came to minds.
I thought, this is this is like Space Odity two
point zero. Yeah, in a lot of ways, man, Like
(21:31):
I love the fuzzy bass lands right just in the
right spot in the song. But it also doesn't outstay
it's welcome. Yeah, it's just a really great song. If
we can get it to play, it's plain.
Speaker 3 (21:40):
It's weird that oh so being Oh.
Speaker 1 (21:45):
It's skipping, it's weird. Something's going on with the Apple Music.
Are a Bluetooth today? Okay, right on, Well let's just
move on. Yeah, yeah, yeah, I mean that's exit music
for film. Go check it out. Honestly, it's good stuff.
Speaker 2 (21:57):
And if you don't get a space audity parallel right
off the bat, I'd be incredibly surprised.
Speaker 1 (22:01):
Well, and this was actually kind of it was inspired
by like William Shakespeare, like Romeo and Juliet. I think
it was some of the inspiration for the exit music.
Speaker 2 (22:12):
What's interesting is that it's exit music for music for
a film and it's the fourth track on the album.
Speaker 1 (22:17):
I know. That's what's that's what's odd. That's what I
don't I could almost see it being the closing track
on the album. Yeah, all right, so number five, Yeah,
well this one works. This multi layered. I don't even know.
I'm so screwed up on stuff. But hey, the fifth
song on this terrible episode of Adventures of Difficulties, covering
(22:40):
one of the great albums that we're just not doing
any disservice to is Letdown, which clocks for minutes and
fifty nine seconds. It's an interesting song which is about
the fear of being trapped.
Speaker 2 (22:53):
Yeah, so the number twenty nine on the Billboard Hot
Modern Rock Charts was not a single, so it charted
out on its own strength.
Speaker 1 (23:00):
There you go.
Speaker 2 (23:00):
Yeah, I love the chiny guitars. I like the like
I feel like the tone of the bass and the
drums really lines up well with the vocals and guitar.
Speaker 1 (23:08):
Ye, it's another one of the songs it has just
kind of floating along.
Speaker 2 (23:13):
Yeah, I mean, I love the way the song picks
up the pace in the last third.
Speaker 1 (23:19):
Really, the whole song builds nicely throughout ends in a
really nice just single.
Speaker 2 (23:22):
Acoustic guitar chord YEP one of my personal favorites.
Speaker 1 (23:26):
On the album. I actually like the song a lot too. Yeah,
it's really great. I really like it in the background,
and it's just it's this whole thing like I've I've
been just I don't know why I am so drawn,
and I've been listening to this album so much. I
still don't understand, but I'm connecting with it in a
unique way, yeah, which is pretty cool. One. Sometimes it
(23:49):
doesn't hit right off the bat, you come back to
it later, and I mean, it's always twenty years later
and I'm like, where the hell is this album?
Speaker 2 (23:54):
Na?
Speaker 1 (23:54):
Why have than I've been this obsessed with it? Right?
Speaker 2 (23:56):
So, this is the song that I remember hearing over
and over again. Yes, and that's the wrong I think
of when I think of OK Computer.
Speaker 1 (24:04):
Yeah. Well, and this is a great one too. Write.
The video for this is outstanding. It's the second single.
It was released on August of ninety seven. It's Karma Police.
It clocks into four minutes and twenty one seconds. It
reached number one in Iceland, number ee on the UK chart,
numb fourteen in the US Billboard US Modern Rocks Tracks chart.
It's another just one of my favorite songs, and it's
(24:24):
influenced a ton of bands today. They talk about, Hey,
what's a song that really influenced you? And people talk hey, yeah,
Karma Police. Yeah.
Speaker 2 (24:34):
So certified platinum on its own strength in the UK
as a single, which is pretty impressive. This is the
first song off the album that I found myself enjoying
when it came out.
Speaker 1 (24:46):
Yeah.
Speaker 2 (24:46):
Again, I wasn't as into Paranoid Android at the time,
but this track has great dynamics. I love how the
chorus drops to just vocal harmony's piano and acoustic yep.
Speaker 1 (24:58):
Without any rhythm section there.
Speaker 2 (25:00):
The heavy feedback guitar loop at the end kind of
serves as a nice, nice thematic transition from this song
into bitter Happier which comes afterwards.
Speaker 1 (25:09):
It's just a fantastic song. Yeah, I mean never gets old, no.
I you know often we talk about hey, saturate on
the radio, we burns you out. Yeah, and I never
got burned out by this one, no, which is cool.
This one stands the test of time. Yeah, and again
highly highly influential happier Okay, so kind of more of
(25:30):
a thematic segue than anything fit or happier. Well, this
seventh track, right, it's the synthesized voice you hear in
the background. What's interesting is this is actually recited by Fred,
and Fred is a synthesized voice from the simple Text
application from a nineteen nineties Macintosh LC. Yeah. Two, So
(25:52):
you guys are computer nerds out there like I am,
and like a history of the you know, the way
the personal computer advanced in the nineties, you may I'm
the interesting. The other thing is there's another song subtrading
Homesick Alien, I do believe where you can hear a
little bit of Fred's voice in the background on some
of those lyrics. So if you listen to the album
closely into Good said headphones, you'll pick that up. So
(26:13):
that's what's interesting. Another factual factor. Okay, I'm better, happier,
all right, all right, coming into track eight. If you
like cow bell, I think you're gonna like this cynical
eight track of the album, like clocks in at three
minutes and fifty seconds. It's called Electioneering. Yeah.
Speaker 2 (26:29):
Great bass work again, I mean, Colin Greenwood on the
bass is just fantastic.
Speaker 1 (26:34):
It's got a fun guitar riff. Yeah, this one is
maybe not as much My Cup of Tea, even though
it's one of the more rocking numbers on the album.
I don't know, it just didn't grab me. It's the
cow Bell maybe, I mean, but I like songs, But
do you need more Cowboll or less Calvin more cow Bell,
Mark coult more calvill It's always what I mean, it's more.
(26:56):
This was just kind of there for me. Man.
Speaker 2 (26:57):
Yeah, again, it's it's a rocking tune compared to much
of the rest of the album. But I think by now,
like the vibe for me has been set and this
is almost interrupting it.
Speaker 1 (27:09):
Oh you think so, Well, this is a little bit different,
right because this track, the lyrics and everything, they're inspired
by the Pulltex riots that occurred in the nineties, and
that was introduced by you know, everyone's favorite prime minister
at the time, Margaret Thatcher. Oh so I believe with it,
you know, Iron Lady. Yeah. I think just based on
the premise and political nature, I kind of it's my
(27:29):
least favorite song on the album. Yeah, and I the
good news is I can tend to ignore pieces of
it and it doesn't really bother. Well, and here's the
thing too, you know, it's still not a bad song. No,
it's not. No, it's really not.
Speaker 2 (27:43):
No.
Speaker 1 (27:43):
It's just like, Okay, that's a good one.
Speaker 2 (27:44):
It's like comparing like what's good versus what is great? Yeah,
most most of this album is great.
Speaker 1 (27:49):
This is good. Yeah, it's if I heard it, I
wouldn't be like skip. Yeah, it's like, hey, that's a
good song. No, it's it's it's good.
Speaker 2 (27:57):
Just again, compared to the vibe that's been set for
me with the previous put six tracks, yep, I mean
seven tracks.
Speaker 1 (28:03):
Whatever it is.
Speaker 2 (28:04):
It's when it just it almost takes me out of
yeah vibe. Yeah, I got shown up all right. Track
number nine, We're Climbing Up the Walls. With four minutes
and forty five seconds, This multi layered night track was
inspired by York's time as an orderly in a mental
hospital during the care in the community policy of deinstitutionalizing
mental health patients, as well as a New York Times
(28:28):
article about serial killers.
Speaker 1 (28:30):
Okay, so a little bit deep there. What are your
thoughts on this one?
Speaker 2 (28:35):
I like it.
Speaker 1 (28:37):
I just it's kind of got a groove to it.
And that's what the whole album, you know, you talk about.
There's this kind of theme has got a groove. This
continues the groove, so like where you're like, wait a minute,
you kind of guys did something to me on electioneering,
and you're like, Okay, I'm right back with climbing up
the walls. I'm back in. Yeah, you almost you know,
(28:58):
I almost lost my groove, but now I got it back.
Speaker 2 (29:01):
Sure, you know, that's kind of what I think if
I'm thinking about the groove, it's a forgettable track that
at least keeps the groove going. Yeah, So that's my
take on it. If I had to pick a skip
on the album, this would be it for me.
Speaker 1 (29:16):
Yeah. But again, now that's on No. I mean, like
I said, it just continues the groove. It's like, Okay,
I know what this is. I can continue to do
this in the background. H huh. Right, that's what that
track is. Yeah, which isn't mean it's bad or do
you think it's just you know, normally we talk about
an album that's loaded with like six awesome singles and
all of that. I think what makes this album unique
(29:37):
is there's a lot of really good tracks. Right. You
may like some of them, may think some of them
are okay, but generally, the whole album itself is a
solid worth, a solid composition of material that represents what
the band was trying to display at the time, right,
or be known for. I think that's interesting And speaking
(29:57):
of solid work, man, let's move on to the next one. Yeah.
The last single off the album, that was released in
January twelfth of nineteen ninety eight, is called Nose Surprises.
It clocks in at three minutes and forty eight seconds.
This is my favorite song on the album.
Speaker 2 (30:10):
I could see one of It's just it's excellent, certified
platinum as a single in the UK. Haunting Pleasant, another
float along kind of track. It's just simple yet enjoyable
vocal melodies. I think the vocal melodies are really would
do it for me, along with that just really simple
(30:31):
lead line and how it just floats with the acoustic yep.
I mean, I could see the influence of this track
on bands like Keene and Travis Yep and a lot
of those britpop bands that came afterwards with the lower end.
Speaker 1 (30:45):
Yeah, this is like, this is like Keen Keen's.
Speaker 2 (30:48):
First You listened to Travis Driftwood, Yeah, like that song,
Like you could absolutely hear the influence of this on that,
Like Keen's first album. This whole sounds like this, Yeah exactly.
I mean, this is just a really great, truly great song.
Did we ever cover an album Mike Kenya, No, we
haven't covered King. I definitely want to cover Travis though, Yeah,
(31:11):
because them their album The Man who Oh, that one
was a big influence on me. So yeah, I'd be
interested in getting into some more of the Brit pop.
I love my britpop man, love it.
Speaker 1 (31:19):
Well it's interesting, like we're finding if you look at it,
we're starting to dig in a little bit more to
the britpop genre. Well, and in the nineties, this album
really helped establish the Brit pop sound going forward. It
was a massive influence. I mean, you like at kind
of the dynamics in the nineties, And this is what
continually fascinates me is we have this grunched alternative Brit
(31:43):
pop thing all happening in a ten year span. Yeah,
from like ninety two to two thousand and two, you
had a decade of there was just a massive evolution
of music. Huge, absolutely huge, and ye you know, okay
computer part of the fact.
Speaker 2 (31:59):
Yeah, I mean, folks to me, like, if I'm gonna
pick one song to recommend people off this album, it's
probably going to be no surprises. I mean, followed closely
by Karma Police. I like Subterranean Homesick Alien again, that's
my deep track that I really like. But man, this
song in particular just grabs me. Yeah, it grabs me
right off the bat, and it continues the vibe of
(32:21):
the album.
Speaker 1 (32:22):
Yeah, yeah, I agree, all right, we are getting close
to wrapping this one up with track number eleven, which
is Lucky clocks in in four minutes in nineteen seconds.
This was originally released on the Help album I Do
Believe and it was a nineteen ninety five charity compilation
that was organized by the charity War Child. Lucky was
(32:42):
recorded in five hours and I Believe Nigel Godric was
the producer. It was released as a single on the
album Okay Computer the day after Christmas. Okay So our
boxing day in Canada the New Year, nineteen ninety seven.
Speaker 2 (32:57):
Yeah, So, honestly I'd have picked Subterranean Homes, Gay and
over this one.
Speaker 1 (33:00):
As a single. Yeah. I agree, not that this is
a bad song at all. It just doesn't feel like
a single to me. Well, the fact that it was
kind of already released beforehand and then they had to
include it, They just kind of incorporated it. Yeah, it's like, well,
we got this sitting out there.
Speaker 2 (33:16):
Which surprises me, given the fact that it feels like
Okay Computer itself was a very intelligently strategically crafted album.
The inclusion of a previously recorded track.
Speaker 1 (33:29):
Is interesting unless it's like, hey, we this belongs in
the album.
Speaker 2 (33:35):
Hey.
Speaker 1 (33:35):
I always thought that this needed to be on this
type of album. I don't know why that's the case,
but you know that that's something for us to just speculate.
It's like, hey, should they have not included it? But
when you look at the theme of the song, and
maybe this earlier track is what said, hey, this is
what we want to develop, okay computer into that. I
don't know.
Speaker 2 (33:54):
So I'm not that I'm going to go back on
my comments on this song, but I'm going to say this,
despite the fact that I don't think it's a single personally,
it's a really solid song.
Speaker 1 (34:03):
Yeah, it's good.
Speaker 2 (34:04):
I like it. It's not one that I'm necessarily gonna
seek out, but it's it's good.
Speaker 1 (34:09):
Yeah, I'm going it continues the vibe of the album
and the whole album. It's just great to have on.
It's like one of those where no, just put it
on and listen, like just listen, and we talk about
so albums that are very few that you just want
to put on and it's good, awesome background music.
Speaker 2 (34:27):
Yeah, right, and this is just this song fits right
in with the rest of the album thematically. I just
don't understand why it was a single. That's my only
gripe with it. I'd have picked another one, but yeah,
all right on to the last one.
Speaker 1 (34:38):
All right. Wrapping up the album is the twelve track
of the album, called The Tourist Clocks In in five
minutes and twenty four seconds. The lyrics of the track
were written by Tom York and were inspired by his
experience of watching American tourists in France frantically trying to
see as many tourist attractions as possible. If we do
do that, well, you know, you gotta cram everything you
can and you limit amount of time because we all
(35:00):
up watching European Vacation. Yeah from you know, National Impoods,
European Vacation and that whole scene in France where they're
playing that punk song and I think and they're going
from like thing to thing the thing. Yeah, that's what
When I read the facts on it, I was like, oh, yeah,
that's that's interesting.
Speaker 2 (35:19):
So by ending the album with this track, I feel
like they're trying to create their go forward vibe. On
the exit, you could tell they've got a new direction
that's not likely to change. Maybe it's just me knowing
the future content that they're going to release, you know,
like Kida and things like that. But this sets the
tone for what's going to be coming in future years.
(35:42):
It's a good song, not my favorite, but I think
it fits the purpose well of again fitting in with
the vibe of the album.
Speaker 1 (35:48):
Well, it's almost like, okay, computer is like another debut
album for radio app you're re debuting who they are.
Speaker 2 (35:57):
Yeah, yeah, i'd agree with that. Yeah, I mean that's
kind of what I what I thought about. Yeah, all right,
So what are your final thoughts on this one?
Speaker 1 (36:03):
Man? I think when you when you look at Radiohead
today compared to I don't know, twenty five thirty years ago, right,
what they were able to do I think has influenced
a significant amount of you know, musicians today.
Speaker 2 (36:20):
Massively influence. I mean it's this album and others they've
released since.
Speaker 1 (36:23):
I mean, people look at it the peak position on
the you know, Billboard two hundred number one in the UK.
It's definitely one of those quintessential albums I think in
the britpop genre for the UK. It means something for
in the US, not near as once it does in
the UK. But I think a lot of these artists,
indie bands, alternative bands. Hey, they referenced a lot of
okay computers. When you look at the influence it's had
(36:47):
on music today, I give it a ten. I do wow,
just when when you look when I started doing research
on the album, I go look at covers, sure bands
that cover Yeah, And there's so many unique covers off
Karma Police, Paranoid Android, and then I think I even
(37:08):
found a subterranean Homesick Alien cover. So when I look
at people taking an artist work and it's inspiring them
to do a cover or something like that and make
it unique, it's a considered amount of influence.
Speaker 2 (37:23):
True homage covers, Yeah, sarcastic, these are true homage covers.
And there's song like there's this I think a band
out of Africa that did a cover of Yellow that
was just amazing, right, And I've seen similar covers. I've
seen more of those type of homage to different songs
of this album that.
Speaker 1 (37:44):
I've seen some others. So influence wise, I think it's
at nine and a half ten. As far as influential
to artists. Personal opinion of the quality of the album,
the songs I like and what I like to listen to,
it's probably eight and a half or nine. So that's
what I gave it was an eight and a half. Yeah,
I mean I agree with you on the influence.
Speaker 2 (38:03):
You can hear this is the spark for bands like that,
the change of sound of Feeder or cold Play parachutes.
Speaker 1 (38:11):
Yeah, so like Layman, Layman, guys, just listen.
Speaker 2 (38:14):
This is a good eight eight and a half album
for I mean, probably general people seven or eight because
they're not going to get it.
Speaker 1 (38:20):
Guys that like music like us are probably eight and
a half. Nine. But when you look at artists and
how an album, how an effect future genres, YEA and
what they did in nineteen ninety seven, I think that's
a ten. Yeah, sure absolutely.
Speaker 2 (38:38):
Now you know, summarize the two, you give it like
a nine and a quarter nine and a half, because
I really do like again, for me, it's an eight
and a half, but when I think about influence, I
got to push it up above nine because it is
massively influential in everything that's come in the last twenty
seven twenty eight years now.
Speaker 1 (38:55):
Yeah, it really is.
Speaker 2 (38:56):
And this one kind of as I was prepping for
this one and going through everything, this kind of bothered
me how I was ranking this album, sure right, And
I was like, no, because it's more than eight and
a half.
Speaker 1 (39:08):
It's more than just have to take into account the influence, right.
But what I liked about this one is, you know,
because we kind of had hiatus, I was able to
really dig in. And when you have a special album
like this, sometimes we delay an episode, spend a little
bit more time digging in just so we understand what
we think the album is. I mean, so for you,
(39:29):
would you buy it? Would you own this in your vinyl? Click?
Undred percent? Yeah, I'll be honest with you.
Speaker 2 (39:34):
I would say I was so impressed with this album
that since then, I've started diving into a lot of radioheads.
Speaker 1 (39:43):
Yeah, subsequent content. Kida is next, that's like my next
I'm gonna listen.
Speaker 2 (39:47):
Yeah, I'm I'm particularly going to dive into that one,
but I'm going to start after okay computer and just
start diving into like sequentially. Yeah, what they've done, because
this one really giving it a chance, giving it a listen. Yeah,
I was just impressed. Man, I should have given this
a chance a lot sooner. But I think that's just
because now I'm ready to hear it. Whereas back then,
(40:10):
I you know, I was listening that was the summer
of after my senior year. I think I was listening
to like def Leppard and Poison Still and then you know,
Ozzy Osbourne and Well, And I think I think I
was into an eighties metal kick because I was hanging
out by the pool with my buddies, playing in a
band that did a lot of that kind of stuff,
Guns and.
Speaker 1 (40:26):
Well, and I was I was mainly trying to figure out, Hey,
I really like grunge and you know, a wait, like
I was kind of like all about I wish grunge
was back. I was listening to all the music that
my parents wouldn't let me listen to when I was
a kid. I mean, I was still listening to Alison Chains.
You know STP had a lot of stuff. Yeah, you
know at that time. Oh yeah, I mean that's kind
(40:46):
of where I was at. Sure. But hey, we're wrapping
up another episode of the Adventures in Vinyl. Hey, if
you like some of the bands we checked out today,
be sure to check out Say Paul and the Broken Bones.
You can find them on Spotify, iTunes, check out their website,
buy a vinyl. Part of the cool featured on Stuff
the baron his Yellow Card. Check out that band Oceans Avenue.
(41:07):
I'm sure you guys do that. The Mensingers. Be sure
to check out Mensinger's that cover. If you just like
a band in general, hell, listen to some men singers.
You want some upbeat punk that makes you feel good
after a hard day's work.
Speaker 2 (41:19):
For you, just.
Speaker 1 (41:23):
Anything from the Mensingers, Yes, sir, And with that we
close another episode of Ventures in Vinyl. For more information
on the band Radiohead, you can check out their website
that's called Radiohead Public Library at www dot Radiohead dot com.
If you enjoyed this podcast, be sure to check us
out at our website at www dot Adventures at Vinyl
dot com, where you can find links to our episodes,
(41:44):
and through our support section, you can find your very
own Ventures in Vinyl t shirt. Follow us on Instagram
at Adventures dot n dot Vinyl, and be sure to
subscribe to the podcast and leave a review. Follow at
them on Instagram at eat dot Prey dot arm bar
and myself at Todd David Ward. With that on Todd
Ward and I'm Adam Baron, and we would see you
next week on another episode of the Ventures in Vinald,
(42:06):
where we will feature the album.
Speaker 2 (42:10):
We Don't Know we decided, we decided on one and
dang it, I can't my bloody Valentine.
Speaker 1 (42:15):
All right, let's read this. We'll just rewind that just
real quick. And with that, I'm Todd Ward and I'm
Adam Baron and we will see you next time on
another episode of The Ventures and vinal where we will
be featuring the album Loveless by My bloody Valentine. Awesome.
It's not working, jeez, Like nothing works today, like where
(42:40):
I'm just gonna complain throughout the whole. So whoever listens
to the end and they're like, just turn it off
after they start doing it. I'm just gonna rant throughout
the whole restrain. My brain was not working, like I
just can't get the button. I could, I could make that,
I could make the words in my head, but I
could not speak them through my mouth. Hey, well, we'll
see you next week.
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