This is a transcript from a recording of the broadcast.
[Jigsaw falling into place]
Steve Lamacq: "Jigsaw falling into place, from the new Radiohead album, In Rainbows, and, Thom Yorke and Ed O'Brien from Radiohead: Welcome to the program!
Steve: "You've caused a bit of a fuss, didn't ya? Uh, caviar?
Thom: "Much obliged
Steve: "Oh, all these new-fangled ideas of how you put a record out, CHAOS!!
Thom: "Was it? I don't know. We stayed home and...hid.
Steve: "Well so, I was gonna ask you actually, cause I want to talk about that. The actual sort of modus operandi you know, how you put the record out later on. But: What were you doing, and where were you the day the downloads went out?
Ed: "That was October the tenth? Wednesday? Um. Wednesday, what was Wednesday?
Steve: "But, did you not get up, were you not on the phone to each other saying "It's out, It's out", "Have you seen this?" "There's a review on this website..."
Ed: "We probably had a meeting.
Ed: "We probably had a meeting about it.
Ed: "... We had a lot of meetings beforehand about it,
Thom: "We keep having meetings.
Steve: "Is that all you do these days?
Thom: "It's all right though, they're nice meetings...
Ed: "Yeah they're good meetings.
Thom: "...They're just long meetings.
Steve: "You see, I had this vision in my head that you'd be sitting there the day the album sort of finally arrived, like some sort of Bond figure,
Steve: "Like sort of stroking the white cat, "Look kitty, look what I have done unto the music industry!"
Thom: "I just remember sitting at home thinking, "I'm sure there's something I'm supposed to be doing",...that particular, I thought we didn't do anything, at that day. At all. I thought we didn't do anything...I thought... Sometimes we have days where we don't do anything.
Steve: "Which is nice?
Steve: "And, I have to uh... even if it was just for a test, just to make sure it all worked, did you order one yourself?
Thom: "Didn't you...?
Ed: "Yeah, I got ten diskboxes!
Ed: "I spent four hundred quid!!! On ten diskboxes! I recognize that you get something special!
Thom: "Yeah! Thanks very much, Ed!
Ed: "Phil has, too.
Thom: "I haven't...
Ed: "It has been noted. I think Phil and I are probably the people who, throughout the world, who have spent the most on it,
Ed: "Yeah. There's a lot of family out there! A lot of people to make happy!
Thom: "My mum is just asking when she can hear it.
Steve: "What, the diskbox?
Thom: "No, the record! *laughs*
Steve: "Has she still not heard the record yet?
Thom: "Yeah, I've downloaded it, but I haven't got her round to playing it yet.
Thom: "Yeah, but I downloaded it for nothing, obviously, I thought it would be silly to pay money.
Steve: "I was going to ask, did you pay yourself any cash, but uh...
Thom: "Well, no, I'd just swap it from one pocket to the other.
Steve: "Well, I should say, we'll come back to the manner in which it was released a bit later, but obviously the most important thing is new...new music! And in some cases, new old music, from Radiohead! What's, um, for people like myself who didn't follow some of the more enigmatic postings on the blogs, um, what's, um, what was it like? What was the experience like making this record?
Thom: "It's funny actually. We didn't really, um, put much on the blog about it, other than, well, as far as I remember, "It's all right. We're still here..." "Uh..." But we didn't want to talk about it, cause it was really hard! And it's nothing more boring than people going on about how hard it is.
Steve: "And was it a difficult process?
Ed: "It's always difficult. You know? I think it's like, you just have to accept that it's hard work. And that's what it is. And it took a long time to sort of get together and do it. We took a year off after ... collectively, we took a year off in, what was it, 2004, so we finished touring Hail to the thief. And then, we sort of reconvened for rehearsals in 2005, and we did a bit of, we did a bit of self-producing, recording, then, and bits and pieces, and then we decided to go out on tour, in 2006, and we started to work with Nigel um, in the autumn of two thousand and six. So it's just, it's just, you know, it's taken a long time, and it was hard, but it's, as Thom says, it's really boring to hear that. It's much better to have photos of people, either Asleep, or looking fairly intense.
Thom: "Mhm. We could do that quite easily.
Thom: "Phil just quoted a quote this morning. Because what happened, uh, cause we came off tour and we were all kind of, we were quite confident about the songs, you know, we thought they were pretty good. And bla bla bla. And uh, you know, you get to some of the, maybe you do, I mean, I, occasionally, you'll get a morning where you wake up thinking, "Oh, I'm looking pretty good today." And you walk past the wrong mirror and you're not. "OH NO." And that's how it was because actually, when it came to listening to what we had, it wasn't quite as good as we thought, so we actually had to do some work. And it was really a...that's what took the time, because the ideas were good, but, it just took a lot of like, getting it into the shape that we imagined it looked like. *Laughs*
Steve: "And, uh, what about, now I heard all sorts of stories, and rumors, and people who told me things: Did you try and rebuild a mansion and record in it, that was one of them.
Thom: "Well, it depends on how you look at it.
Thom: "We ... it was, I mean. Yeah.
Ed: "Tottenham Hall, specifically.
Ed: "That was...this was an old ...this was an old pile. And it really was a pile, that had various incarnations, from being a drug rehab center in its most recent, so previously a boy's prep school, to previously the Seat and home of Lord Cardigan.
Ed: "And it hadn't been lived in for something like Fifteen years. And, we wanted to find a space. You know, when we recorded Ok Computer we wanted a, we wanted to go somewhere, and we went to, we went to um, Jane Seymour's place outside of Bath. And we wanted...
Thom: "Which was nice!
Ed: "Which was nice! Ha ha. And we were trying to find places, and, uh Nigel found this place. And there aren't that many left, most of them, most of these old houses, there were a lot ten years ago, and most of them now, have sort of been bought up, and done up, there's a lot more money around... but there was this one place where the main atrium there was...sort of, when it rained, water came in. But we took a room off that and slept in caravans on the grounds. We had our own caravan each, in the grounds.
Thom: "Yeah, it was um...
Ed: "It was great...
Thom: "It was, it was like one of those places where it's barely, barely habitable cos it's been neglected for so long, and there's certain windows you shouldn't stand underneath because the wind, the glass might blow out. On you. Um, and, it was pretty bleak. But, you know, it was one of those weird things where, so much of the vibe, the vibe of the record is off that place.
Steve: "Well... do you...
Thom: "We had all these microphones in weird rooms. And we this, there was this circular room, where we put everything into, except, the joke was, when we left, it was like, "Well, we've got nothing else except the reverb" "But at least we've got the reverb" "Now we have to fit the tracks around the reverb..." *laughs*
Steve: "But it's very important, the atmosphere, within which you record your albums, isn't it? Is it becoming more of a test or a challenge to find new places where you can actually...
Thom: "I think that it's, it's okay to do that now and then, but ultimately it's a royal pain in the arse.
Ed: "And the bulk of the recording was actually done in our studio, by Hunninghoven Garden. So, it's really nice to, what, why we did it was because we...Nigel wanted us to sort of be thrown in a fairly uncomfortable situation, you know? Something that was fairly unfamiliar, and often if you do, that stuff comes out of it, but, the stuff that... you know, Bodysnatchers was basically a live take done on the, pretty much the second time we played it. That's, that came from that.
Ed: "Bits and pieces.
Thom: "And the madness of the place had really set in.
Thom: "It was like ten days in.
Ed: "And it can be a bit, then it becomes a bit kind of like..."OK, let's get out of here pretty quickly".
Steve: "Obviously the recording process still envelopes you then, I was thinking, maybe, maybe the mood is slightly lighter now, certainly less difficult than when you were making The Bends or maybe OK Computer...
Thom: "I mean, hopefully the end product of it is supposed to be much more, um, oh god what's the word: In your face. You know, quite direct, and have a lot of energy because that's what we want it to have, from the record. Um, um, the process is sort of, it's always enveloping, there's always, that's: The nature of making, the nature of working with a group of people like that, you have to get sucked into something, you can't just dip in and out of it.
Thom: "Cos everyone has to collectively move with what's happening. Um, which is a drag, you know? But that, it's also the strength of it.
Thom: "I think it's why bands are exciting. If a band, if you, in that situation where you're in a band, but yet when you go to the studio everyone tracks individually, and la-la-la, puts it onto a computer, then you may as well be a solo artist, really. So it's, that's why Nigel always forces us into these places, grumbling, as we do.
Steve: "Listen, we'll play a track from the album. Then we'll talk some more. Radiohead our guests this afternoon on 6 Music, and uh, this next, uh, from the record. We had a few choices actually as to what to play next. In the end, I went for this. This is 15 step.
Steve: "RADIOHEAD on 6 music. And 15 Step. And so, talking about something else, I was wondering whether there was a lighter mood in the camp. Certainly ! Uh, there's been some times where you think, Radiohead look like they're having quite a lot of fun now. One of them being the web cast, the other week. And the associated videos. Adam Buxton's video for that. If you haven't seen it...
Steve: "...go online, we can't give the game away.
Thom: "It was entirely serious when we did them up.
Steve: "Is that right? But there's a great 15step reworking. And, uh, also, cover versions in the webcast, as well!
Thom: "Oh yeah..! Well, that was just a ... well, actually, it's songs we'd always wanted to work out, what did we do, Ceremony and Headmaster Ritual.
Ed: "Headmaster Ritual.
Steve: "Headmaster ritual, I never thought I'd see you do Morrissey, a Smiths song.
Thom: "It's...I tell you what, it's a bit of a bugger doing it and playing those chords at the same time. It's all right if you're just, you know, walking around on the stage as he does.
Ed: "Yeah. Working it out ...
Thom: "Oh man!
Ed: "You've got to work out the tuning, you know, and everything, it 's, I think we picked songs that were just, we didn't mean to pick songs that really meant something to us, but they really did! When we were, I guess, forming the band and stuff like that, these were really formative songs!
Steve: "New Order, Ceremony?
Thom: "Oh, I had always wanted to do that one.
Ed: "You wanted to do that one and I had always wanted to do Headmaster ritual.
Thom: "Did Johnny Marr show you the chords, Ed?
Ed: "No. He didn't, but... Well, he did actually.
Thom: "You were too chicken to ask him?
Ed: "No! No! I said to him, "I think I finally worked out how to play Headmaster Ritual!" And he just picked up the guitar and sort of retuned it in Open E and was like..."Yeah, does it go something like this?" ...Yah. No!
Steve: "I loved, one of my favorite things about the webcast was the fact that Ed and Phil turned up in their best clothes, looking like they were actually going to work, or actually going to be on a proper stage. And the rest of you all turned up looking like you just wandered in off the street!!
Thom: "What do you mean? I dressed up for that.
Steve: "Well, that's you dressing up?
Ed: "*laughs* Friday night.
Steve: "You're better dressed now!
Thom: "Thank you.
Steve: "Actually, one of the interesting things about the webcast though, what you've done before, but in this case, particularly, is, it makes the band feel so human. Because...it puts you in a setting which every band understands. Every band has been there, particularly doing the cover versions.
Steve: "It's like, everyone does that...
Steve: "You know, no longer the mystique, cos, everyone does cover versions, and it's very, it just felt very touching.
Thom: "It's just a ...I don't mean, I think that we're gonna carry on doing it, it's a real laugh, just to get together in a room and work on other peoples' songs. It takes all the pressure off, and you just enjoy making a noise.
Steve: "Did you do cover versions back in the old villiage hall days when you were starting out?
Ed: "The odd one, yeah.
Thom: "The odd one, but we never really threw ourselves at it. You know? It was just a good education to get outside of your own... Imaginative space.
Steve: "Uh. Coming back to the album. So, how difficult was...how many songs...did you count up how many songs you worked on in the course of making this record?
Ed: "One thing...Nigel limited us! I remember, we had the old blackboard out, which, in the KID A days had about SIXTY TITLES down on it...
Thom: "And I was the only one who knew what they were.
Ed: "And sometimes you'd like...he'd come in another day on KID A: He'd write down another five songs!!
Thom: "*laughs* And every now and again someone would come and go "What's this bit here?"
Thom: ""A, D, C, Stroke F", what's this one?
Ed: "Yeah, "What's this one?"
Thom: ""Oh, i'll play you that...you know"
Ed: "So Nigel was, on this record, he was like, "Now, listen," he sort of said, "Why don't we just hone it down to like fifteen or sixteen songs,
Ed: ""We've really got to..." The other thing was like that by the time we were in the studio with Nigel, we'd been playing some of these songs for a year and a half... so we had, there was a kind of a, slight sense of desperation. Not, not...
Thom: "We had to get rid of them.
Ed: "We had to get rid of them. We had to try and do them as quickly as possible and do them as best we could. So the only way to do that was to really concentrate on them, and to nail it down.
Thom: "But I did keep coming in every monday and add in a couple though, and I'd find someone had wiped them off!
Thom: "Like three days later.
Steve: "Oh! Do you think that was Nigel?
Steve: "(An aside) This is Nigel Godrich, their producer, obviously
Thom: "Well maybe. It could have been anybody, really.
Steve: "It could have been just someone who didn't like them.
Ed: "The cleaning lady who was coming in.
Thom: "Yeah, it could've been.
Steve: "So. Um, so you were working on various songs, is there a pivotal track, this time 'round, something that you think "Right, that's going to partly set the mood for this record"?
Thom: "What would you say that was?
Thom: "What would you say that was?
Ed: "What would you say that was? Well, the big, I mean the big breakthrough I think was like, we sort of did a bunch of... we did a load of recording with Nigel, we had done about eight weeks before Christmas of last year. And we came back, and we listened to a lot of it, and a lot of it wasn't good enough. But, the second...
Steve: "What makes it good enough?
Ed: "It just wasn't...it's just...
Thom: ""We are not pleased"
Ed: "It just doesn't move you. It just sounded "clear". So, I think it was the second day we were in, we were in our own studio. And we basically cut 15 step, in a day.
Thom: "In one day, yeah...!
Ed: "And it was like, it was doing it live, everybody was playing live, and it was that "OH, OK" ...that was the, kind of the first time it was ...and I think it gave us a lot of confidence, and it...we needed it then as well, because we weren't really um...optimistic, actually.
Thom: "No, it was going down pretty fast.
Steve: "Wait, see, I can't believe that even after all this time, you get so bleak, you lads!
Ed: "It's not bleak, it's about being... Confidence, confident, I mean it's like, I don't think confidence, you know, just cause you've been able to do it before doesn't mean you can still do it, and I think that's the thing that kept us like... just cause you've done good music before doesn't mean you can still do it. And I think ...we were supremely unconfident.
Thom: "Yeah, absolutely.
Steve: "See, the thing for me, about having, and this only came sort of begun to come through, after a few listens, but it strikes me as being a very intimate record. And I think actually being able to do "Nude" and doing it very well... it was quite an interesting ..
Thom: "Yeah, I don't think we had ever been able to do that song until now. Even though it's been kicking around for ten years, because, I don't know, it didn't, whatever it meant then, it means something to us now. It's one of those weird things... Um...
Steve: "Cause that's the song that's one of the songs, as you say, which has been around for a while,
Thom: "I think it was because I hated...I used to hate the way I sung it.
Thom: "Or at least I, it was just, and probably, as you say, too intimate, and I had felt real uncomfortable with it.
Steve: "It's an intimate sounding record though, in places. All I need is very intimate.
Thom: "Videotape as well. Bodysnatchers, not so.
Steve: "Which is, uh, that strikes me as being one of the, that's the sort of the slight shift in mood this time around.
Thom: "There you go! You've got to have some of that.
Steve: "You've got to..um, did you have people emailing in all the time, saying, when are you going to do this? Are you going to do this? Uh, which, why we've, through our webpage, people like Dan in Hastings saying, uh: "The New version of Reckoner, surprises him,
Thom: "Yeah that's because it's not the same song...
Thom: "Um, well there was a song called Reckoner, and, then I like ended up writing a second part to it. And that mutated into the only part to it, and then Jonny wrote another part of it. And, the song as it was, left.
Thom: "That was the hardest decision I had to make. That blew my mind. Cos that' s my... You wait til you hear it. Cos the recording of it is mental. It's great. Like the best drumming Phil's ever done. But, it just didn't fit!
Thom: "It was weird. It just did not fit. And we had, what, like two weeks
Thom: "... where we were trying to work out what went on?
Ed: "We had sixteen, seventeen songs, and we wanted, we knew we wanted to make a record that was concise, and it couldn't really be more than eleven, ten, eleven songs, so we tried to make things fit. And, for instance, you know, Jigsaw nearly didn't make it onto it. That was like the last song that kind of went on, and it was like, "Oh, it makes really.." It's...that tracklisting the record, everything's up in the air. And it becomes, it becomes something else only when you've got that tracklisting right.
Steve: "You see...this is weird! We're going to pick up on the whole idea of the tracklisting and the shape of this record uh, after the news, but, so we're going to play another track just before we get to the news, uh, this is your choice, Ed. You want me to play a Kings of Leon track?
Ed: "Yeah man. My party. I ... if there's one band I totally love who've made three amazing records, and the new one's amazing, it's just Kings of Leon. And...I saw them live at Hammersmith Apollo in the summer, Friday night. Just blew my mind. They are just.. I don't get jealous when I see other bands but I see them and I go "Man, I'd love to be in that band," they're young, you know, they've got that, and they write amazing songs ... and they've got that "thing".
Steve: "And also, weirdly, it's quite a lot about the atmosphere as well, you know, they write those songs around the ponds, don't they? They camp at a lake out the back, they take some tins of beer and they just...sort of kick back until a song arrives from the ether.
Ed: "Yeah, and they remind me of one of those bands that I used to love in the 80s like the Bunnymen or something like that, they just ...they're growing, they're evolving, you know, their first record is amazing...you know, as a bunch of songs, but the sound now that they've got, and they're amazing players...their drummer is just ...he's incredible too! They're all great, but he's really special.
Steve: "Kings of leon then, on 6 music.
[Kings of Leon, my party]
Steve: "That's one of the tracks from In Rainbows we've covered already in this hour, our special guests are Thom and ed from Radiohead so, that, from the album In Rainbows, is Bodysnatchers. And, uh, fessing up time.
Thom: "Oh oh.
Steve: "First time I heard this record, and you know me, I always give you an honest opinion, fessing up time, first time I heard it, what... the thing that I found really strange was there was no ...there didn't seem to be a center to this record. It didn't seem to have a certain sense of focus. You know, with previous, if you go back to say, Hail to the Thief, lyrically, there's various themes running through it: Fatherhood. Maybe the political landscape outside of you know the family home...
Steve: "But there was something, sort of holding it together. Less so with this record. Do you think?
Thom: "But, um, only because... no, the center is Reckoner. I think.
Steve: "Do you?
Thom: "Yeah, it's cos that's where it goes into a space of its own. The central point of: "Because we separate like ripples on a blank shore", is ... that's the center. Yeah. Everything's leading to that point and then going away from that point.
Steve: "Right...so literally it's quite like..
Thom: "For me anyway...
Steve: "...dropping a pebble...
Thom: "And I tell you what though, we did something this morning, we were talking to someone this morning, and, there's all these mad theories on the net. I mean, I don't know, I'm not one of those people who reads em, but someone read one out to me, it's all about Tens and apparently, mathematically that IS the centerpoint!
Steve: "Is it??
Ed: "The golden section.
Thom: "Was that the thing?
Ed: "The golden section theory.
Thom: "The golden section theory, so if you really, really, really, really, really stuck for something to do, you could always read up about that!
Steve: "Um, ok! Musically though, as well, you've mined various things with different albums, tested different parts of what the band is about and what it's capable of doing, this one feels like you've gone down, you've gone down...down the mine, but possibly found different seams. You're working on different parts, stretching different parts of your music. Instead of going particularly in one direction.
Thom: "Really..? Huh... I think, I think there was less of trying to follow an aesthetic and more of trying to sort of be true to the songs themselves, and what was going on with the words of the songs. Ed was big on the words in this record. He kept... kept sort of focusing back on that.
Ed: "That to me is the ...I kind of, you know, for me music, with music in the last four years, I went through, personally I went through a phase of like not being able to really listen to music, like four years ago. And the thing I came back to, is, a song. A song is lyrics, you know? A song is a singer, that's eighty percent of it, and the music is like twenty percent, it's the thing that backs it...
Thom: "Have we discussed this with our publishers lately?
Thom: "Sorry, carry on...
Ed: "Well, it's about half and half with respect to... Um, that was the thing for me, was like, the most noticable thing for me when we reconvened was: there were these lyrics, and sort of really onto the lyrics, cause I felt like they were sort of, they were universal, there wasn't a political agenda, it was being human, you know, there's a lot of humanity in them.
Steve: "I think that's the intimacy thing...
Steve: "That connection
Ed: "I was getting a buzz hearing the lyrics, and that had been on a genuine very sort of profound level. And, so, I think it was really, I think, what you'd done on the Eraser as well, the voice, for us, hearing the voices up front, you know, you weren't...you didn't pull the voice back. And so the voice is up front, so that was really good to hear. We were like, wow, we need to do that. And, it was just getting the songs right, and getting the background right to the vocal and to get these lyrics heard, because that's basically what it's about...
Steve: "Actually, how did the experiences doing The Eraser, did that shape how you approached, or, contributed to this record?
Thom: "Oh! It kind of threw me a bit initially, because that was a really...
Steve: "All of a sudden there were these other blokes in the room.
Thom: "Yeah! (*laughs*)
Thom: "Understatement number 8.
Steve: "Life was a bit tricky...
Thom: "Yeah. "Hang on a minute...!" Um, so, Yes. That's the answer to the question, no need to elaborate.
Steve: "So, coming back to the, I don't know whether it was something to do with continuity, but I mentioned that was talking about the album to one of your fans, like a mega fan, and she was saying actually, this is the first, this is actually the first Radiohead record which works on "shuffle". Now...
Thom: "Oh really, that's cool. Well I'm glad we wasted those two weeks...
Steve: "I was going to say...after all that you were daying about constructing it, and the track list, that it must be like this. That it works on shuffle?
Ed: "Maybe. Or maybe you just have to find the right ten songs that you can shuffle to make it work.
Thom: "Let's "unbundle"
Steve: "So obviously that brings us to the way you put the record out, uh, whose idea was it in the first place?
Thom: "Thank you, Steve, for not starting the interview with that. That was good!
Steve: "It's not the most interesting thing about the record...
Thom: "It's not. I was rather hoping it wasn't, no!
Steve: "Laughs. But I have to ask, though, because, in a way, I thought: "They're having a laff here."
Steve: "But honestly, I thought "They are doing this because they can. I'm just going to amuse them"
Ed: "Yeah, it's definitely a sense of "We did it because we could..." We're not in a contract. (We weren't in a contract.) And we had to find a way that kind.,...all along, our management said "We're not going to negotiate until you've done this record, blablabla", and they came to us earlier this year, with this idea of "Well why don't we just do a download-only release, we can release it immediately, we can do it ourselves, and then she said, let's do that "No CD, nothing, nothing", and we were like "Hang on a sec." "Well that's a great idea, but I think people need to, you know, there are lots of people who don't...who aren't internet saavy." "So let's get a CD out as well." But they came to us with that, basically, with that idea, and it...
Steve: "Were you a little freaked out, initially, or did you just think, "Oh, that's not a bad idea,"
Thom: "No...I think, I think everyone, it felt right straight off, I mean it was funny though. The last couple of meetings, you know, everyone's going "Are you SURE this is a good idea?" "Are you sure?" Especially when it was like, you know, we were trying to come up with the wording of how to sort of ...How to sort of say to people, you can pay for it or not, sort of thing.
Steve: "Yeah.. yeah.
Thom: "That whole thing was very... it felt very surreal.
Steve: "You see, the only other thing that obviously...struck me, was that maybe you were trying to protect the concept of the album, not everyone's album, but just, making a body of work, the people, once you've been through all this, should hear the context of all those songs. Rather than it just going out as an album you can buy track by track.
Thom: "Yeah, there's that. There was definitely that, because it was, it was a way of retaining control over how it was heard! In a bizarre sort of way.. Because you... there's no sort of filtration process beforehand, it's like: "Are you interested in hearing this?" "If so, please come here again in a few days". Yup. That's it! Nothing else at all. You know... and it sort of, you know, especially I think because, yeah, you can't help be conscious of the baggage of the whole situation. And it's nice to just sort of um... just you know, leave it in a pigeon hole and say "Go and pick it up in the train station," and you leave it in one of the... you hand someone the key and say, "Go and open, go and get it. We're finished."
Steve: "How on Earth did you keep it secret that you were doing this?
Ed: "We had to literally not tell anyone. It was literally...
Steve: "Except families?
Thom: "Pretty much
Ed: "Yeah, I didn't tell my wife that we were going to release it like this.
Ed: "We didn't tell anyone. And we had a whole...we had about a month and a half over the summer where we'd sort of finished a master, well, we'd done "a" master of the record, and so we had to keep it ...
Thom: "It's true, we weren't allowed to have copies in the house, we had to destroy all copies, you know... we weren't allowed to have copies on computers, and none in cars, you know. You listened to it once and then you'd have to give it back or do whatever...erase it.
Steve: "Is that right? This is like working for MI5
Thom: "It was, it was wicked!
Ed: "It was, it was great fun!
Thom: "I want to carry on like that. I get a real massive kick out of it, you know, rather than some like, guy at a record company or whatever, or someone who works in a studio just walking in and nickin' it and putting it on the internet. All it was for me is like, I sort of wanted to do it on the Eraser, but it was too difficult, but, was you know, every record that we've done for ages had been leaked! And why not just leak the bloody thing yourself? Why get ... Why let someone else sort of nick it and get it a little bit wrong, and get, you know, the wrong versions or whatever. Do it yourself! And right!
Steve: "Yes, makes good sense! We're gonna talk more about your own work in a second, but it's your turn to pick a record. Do you want Robert Wyatt?
Thom: "Yeah. Off Comicopera. (Or *repronounces comicopera*)
Steve: "And are you a wyatt fan?
Thom: "Stay tuned!
Thom: "I've known of him for ages but I downloaded this record because I read an interview with him in WIRE... and it was a really refreshing interview where he was talking about, actually, like what we were saying earlier about words and ...the human voice, and how there's no point in working as an artist in isolation, you know? Because you've got your own little pond but your pond's got to become part of a stream or whatever it was.
Thom: "And it was a really great interview, so I downloaded it and I haven't listened to it except for the first track, I put the first track on, and I've had it on repeat for two days now, because it's so beautiful... And, and it really fits with so many things, to me, at the moment. It's just...I don't understand why Radio 2 aren't playing it to death! I mean, it's beautiful and it's an amazing song.
Steve: "It's Robert Wyatt on 6music.
[Robert Wyatt --- Stay tuned]
Steve: "Robert Wyatt on 6 music, the choice of Thom Yorke. I haven't asked you about the rest of the boys, are they well?
Thom: "They seem to be all right!
Ed: "Very fit.
Steve: "Very fit?
Ed: "Yeah... very fit.
Steve: "Colin? I had never had Colin down as being "fit"...
Thom: "Define "fit"
Ed: "You'd be surprised!
Steve: "Really? Fighting fit?
Thom: "Working out...
Steve: "We've got a bunch of questions. We're running out of time...but here's one or two, I just got through reading through these, so they're a little bit random. A lot of people asking about the album title "In Rainbows".
Thom: "Right... What do you want to know?
Steve: "Um, why? What was behind it? Was it there as a title early on?
Thom: "Well, not quite early on. As soon as I had the lyric in Reckoner it was there.
Ed: "It's funny cause you said ... you said about three months ago, to me, you said "What do you think of the name "In Rainbows"?" And I said... it was immediate, I said "Wow, that's great!" And he said, "Good, cause I am not budging on it."
Thom and ed laughing.
Thom: "How very democratic of me!
Steve: "But what is it...what is it like, do you know when you walk into a studio, do you know who's got out of bed on the wrong side, when you arrive?
Thom: "I actually have a little black cloud that follows me around.
Steve: "Why are you looking at Thom like that?
Ed: "No, no! We all have that.
Thom: "Mines a bigger one than yours...
Ed: "Well, you know, we all have our bad days, and it's always obvious.
Thom: "It's actually quite good now because ...I just go home!
Ed: "Nowadays you don't get freaked out when people have bad days. It's like, you address it. Rather than, everyone used to sort of like cower into a corner and not say anything. And it was like, "Right, let's carry on," but listen, if you're having a bad day, why don't you just go?
Thom: "Before you tear this tape up...
Steve: "Very strange, because yesterday on the music review we played back some clips of an interview which we did around The Bends, uh...and it was all individual, pretty much all individuals I think, but as part of the interview I asked I think, going right back to the time of the Bends, it sounded like it obviously had been quite hard work...but you sounded quite optimistic about the record. But unsure how people would react. But when I asked about sort of the democracy of the band, apparently it was the rhythm section that had the power of veto, at the time.
Steve: "That's what they reckoned!
Thom: "Who is the rhythm section? I mean obviously Phil is...
Ed: "Phil and Colin, yeah...
Thom: "The mind boggles.
Steve: "Who has the power of veto? All of you?
Thom: "Yeah, ultimately, yes.
Ed: "It's like the old one "It's like the U.N."
Thom: "Yes...yes! Nobody really has the power of veto there anymore, do they!
Steve: "No they don't! Eh...so, I had to read this from Lea in Reading, who says, after the recent webcast, you've shown great potential as a live entertainment covers combo, could you play my brother's wedding?" ...
Thom: "Yes, yes, how much is it to get out of bed, now?
Steve: "Lucy wanted you to sing happy birthday to her, Lucy Brougher.
Thom: "Happy birthday!!
Steve: "And, um, oh yes! If you could relive one particular Radiohead moment, says Luke Parker in Groomsby, what would it be? Where would you go back to? If it was one particular time you'd like to have again, so you could savor it this time around?
Thom: "Oh yeah, I know mine.
Steve: "Do ya?
Thom: "Glastonbury, ninety seven.
Ed: "Yeah...I thought so!
Thom: "By the way, I turned to Ed, and said "I'm off, mate"
Ed: "And I said, Just one more song, let's get through Just and see how it goes.
Thom: "He was really good actually, cause the lights had blown up, and the P.A. had blown up, couldn't hear anything. Every time I went up to the mic it just made a horrible noise. And then just...silence. All these people waving and stuff. And I couldn't hear jack. And then blinding white lights. And after about what, six or seven minutes or so, I just went up and said, Ed, "I'm off now, I can't handle it, I'm off" "All right," And Ed says, "If you go now, you'll probably regret it for quite some time."
Ed: "Laughs... No pressure!
Steve: "Always the sensible one!
Thom: "And then... but it...we got through it and just came off, and just "Oh god that was mental...that was horrible," and then, my missus grabbed hold of me, and pushed me to the front, of the stage...well, round the side to the front of the stage, and said "Look, it's happened." "Look." And it was honestly that moment was just... the...whole world went upside down. It's been upside down ever since.
Steve: "So what was it, the sort of realisation...
Thom: "I don't know, it was just...I don't know.
Steve: "I have to ask, obviously a lot of people what you want to be doing next year. Is Glastonbury on the agenda?
Ed: "Everything's on the agenda. We are sort of finalising dates at the moment, so, we'll see. If they want us. Yeah, I mean, don't know yet. We've got like, "Schedule A, Schedule B, and Schedule C", to be decided.
Steve: "And is this going to happen early next year? What are we talking, spring?
Ed: "Yup. We'll go away, we're probably going to go out in May, and head out for the Summer. So we'll be around... about June I think, about June here.
Ed: "June, July.
Steve: "Ok. Europe first you reckon then?
Ed: "No, America first.
Ed: "Yeah, for a few weeks in America.
Steve: "Spin it on its head...
Ed: "Probably. I mean, none of this is confirmed. This is all up in the air.
Steve: "Knowing you lot it could change tomorrow.
Ed: "Yeah, exactly.
Steve: "In fact, knowing my luck, it will probably change by about 7:30, there's probably a press release! In a computer system somewhere...
Thom: "Which means this interview is ALREADY OUT OF DATE.
Steve: "It's gone.
Steve: "And, we're gonna play another track, we just have to mention...just one last email from Pat K. she says, I was extremely enamoured, this is a question for Ed, "I was extremely enamored, Ed, by your dancing during the webcast, where did you pick up those moves? You should really dance more often on stage. You'd outshine Thom in no time."
Thom: "OH YES!
Ed: "We will have a dance off...
Thom: "I feel a competition coming on!
Ed: "A dance off... Ah well, thank you very much. I was just simply enjoying myself, and moved myself accordingly.
Steve: "I think, uh, we'll put both of you in white suits.
Thom: "Yeah, like that bit in the Starsky and hutch movie.
Steve: "I haven't seen it.
Thom: "Oh ok, nevermind,
Steve: "Ok. But that bit? Uh. Listen, thank you so much for coming in, boys, it's been a real pleasure, and take care. We'll play out I think with Videotape, this is Radiohead, 6 music, Take care. We'll see you again soon.