Main Index >> Media Index >> In Rainbows Media | UK Media | 2008 Interviews
[recording starts]

Colin Murray: "We’re in the company of Radiohead. Thom and Ed are doing the talking. How are you keeping?"

Thom: "All right, man. How are you?"

Ed: "Good, very good."

Murray: "Lovely. Seen a band today, play to 200 people. It was amazing. Let’s play a track from the gig before we get started. Should we start with Morning Bell?"

Thom: "That’s a very good idea."

Murray: "Let’s do it."

[Morning Bell]

Murray: "It’s Morning Bell, recorded today at the BBC Theatre, for a special Radiohead at the B, I think is what they’re calling it and we’re lucky enough to have exclusive tracks from the, the matinee show. Thom and Ed are with us. We’re in the company of Radiohead. So, I’ve seen you play everywhere from the Mandella Hall to the Odyssey Arena to Galway’s Big Day Out, Sheppard’s Park[???]."

Thom: "You were at the Galway gig."

Ed: "Galway, man."

Murray: "Yeah."

Ed: "That was a great."

Thom: "Actually, the Odyssey pretty good, too."

Ed: "Yeah."

Murray: "The thing about it, watching ya, never changed. It doesn’t matter if the size changes or the album changes, it’s just brilliant to watch it. And it’s almost like I could lift the same set up from every gig, in terms of watching Colin like idolize Phil. You know, and Jonny."

Ed and Thom: [laugh]

Ed: "That’s an interesting of putting it."

Murray: "Jonny’s always hitting away, you know. Ed, you always have the cheesiest grin that says, like, ‘I can’t believe I’m in Radiohead.’"

Ed: "Yeah."

Murray: "You know, when you’re playing parts to tracks you really love, and you’re just in your own world."

Thom: "Yeah, [giggles]"

Murray: "You probably take it for granted, but from my point of view as a fan, it looks like when you’re on stage, you’re almost, that’s where you belong, that’s when you’re at your happiest."

Thom: "Wow. I, um, ee, um, yeah. It’s dangerous territory though, isn’t it. I mean, if that’s where you’re happiest, then, um, the rest of your life is probably a bit of a mess, isn’t it."

Thom, Murray, Ed: laughs

Thom: "I watched that film "La Vie en Rose" a couple of nights ago and that’s a classic example, yeah, that was Edith Pier [???].

Ed: "Is that right?"

Thom: "Great film, but , I don’t think it’s quite that bad for us."

Thom, Murray, Ed: [laughs]

Thom: "Personally, I don’t think the rest of what happens to me and put it in a bank somewhere and when we go on stage I open it up, if you know what I mean. Gah, my way of sort of shaking up this box full of stuff."

Murray: "And in terms of you, Ed, do you notice his grin, is it something you’ve noticed? It’s just there, it’s just --"

Thom: "If I open my eyes at all during a show, it’s usually to avoid either tripping up or if someone’s made a mistake. Or try and find the guitar someone’s trying to hand me."

Murray: "You’d be lucky because you’d be blinded by his pearlies[???], it’s like having an extra spot light, his teeth. I don’t want to dwell on the whole people deciding what they want to pay for it, because I’m sick of reading it, you’re probably sick of talking about it. But, just, just very quickly, did you do it to challenge the way people would think about paying for music? Or sort of, like you do a lot times, shake it up a bit, make it a bit different."

Thom: "I think we were just taking the piss."

Ed: "It’s having a laugh as well. We were in the extraordinary position, whereby we’d finished the record, we didn’t have a record deal, what do you want to do, chaps, you know, and the managers came along with it and it’s like ‘that’s good, that’s really good.’ That’s funny, it’s funny as well. It’s not what you’d expect really."

Murray: "Huh."

Ed: "So, um."

Thom: "But it was an afterthought, really. The main thing was to get this thing out."

Ed: "Yeah."

Thom: "We’d finished it, and we wanted to be the ones that leaked it rather than some other bugger, which had happened so many times before. And so the, the, the money side of it was like, well, kind of, a joke, in fact. I spent a day with Stanley trying to work out how’d we word the website and we came up with a series of very interesting essays on the state of music business. And threw it all out when Mel, who runs W.A.S.T.E., which is sort of our merchandizing thing, came to us and said, "just say pay what you want." Oh yeah, after a day agonizing over it."

Murray: "Did you watch it all come in, what people were saying?"

Thom: "No, no."

Murray: "Come on, one bit of a joke, like. You say pay what you’d like, but a penny. Would that annoy you if you seen penny, penny, penny coming in?"

Thom: "Uhhhhh."

Ed: "No, no, no, I kind of admire that in a way."

Murray: "Admire me, then."

Ed: "Taking the piss, exactly. Did you do the penny?"

Murray: "Of course, I’m from a ???? state; don’t offer me something for a penny. I don’t care if it’s the greatest record ever, you’re getting a penny and you’ll like it. I don’t get that. Things people would say to me. I paid seven-ninety-nine, what more the fool do you need, do you know what I mean."

Thom: "It was up to them. [mumbles] It was just kicking it out really."

Murray: "Yeah. See we’ve already talked too long about it."

Thom: "Yeah, I was going to say, you’ve got yourself out anyway, so come on."

Murray: "Writing the album, you once said it was like the UN, but I’m America. Like that every step of the way. Has that maybe changed slightly? Has this been the most collaborative album – are you more like - "

Thom: " – China –"

Murray: " – Spain."

Ed: "China. (laughs) Kind of."

Murray: "Just by proxy now. By proxy."

Thom: "Let’s see. Uh, I just have bad representatives within the area. They know how to, with the dynamic, security council, change shut up."

Murray: "Do you write in pairs? Do you all get together to write? I know a lot of bands will post stuff to each other, simple as that. You’ve got an idea during down time and you send it, or is it very organic and just all getting together in the studio to write stuff?"

Thom: "It’s not, um, Jonny and I sort of go around each other’s houses a lot and knock through things. Posting things has never really worked. We kind of have to be in the same room and the interesting thing about it is that it doesn’t just sort of come from nowhere, as well as a gear up period where we don’t like see each other for a while and then you’re sort of hanging out for a while. And it takes a while for things to start happening, cause you got to get tuned into wherever they’re at. It doesn’t just sort of, I mean the idea that bands get old and move further afield, I’ve got my nice big house in the hills somewhere and you live in LA, and all that sort of shit, if you survive that long. I mean, I don’t see how that could ever work because when you get back together, you’ve got to catch up, you know what I mean."

Murray: "There’s no way Radiohead would ever think in advance about accessibility when making the record; it comes out as it is, I would imagine. But tracks like ‘Nude’, I reckon would translate very easily to, say, lapsed Radiohead fans. You know, the ones when Kid A came along, they went hold on a second, I can’t get my head around this. I wouldn’t imagine that you went now we’re going to make a more accessible record, which it is, but was there ever a time recording it when, say, you were listening to ‘Nude’, or you listened to ‘Jigsaw Falling Into Place’ or you listened to ‘Videotape’ and someone would have an idea – a really good horn section – do you know what I mean. Or this particular sample, and you went you know what, let’s just keep it as it is. A decision to be less inaccessible rather than to be accessible. "

Thom: "Well, to me, we ended up with a set of tunes that were fairly direct, and they were the ones that we wanted to work on. Umm, you know, but then there’s all this other stuff that goes by the wayside that isn’t like that. It’s just that these sort of tunes started coming together with themselves, I mean - ."

Ed: "I think the main thing, one of the big things was the lyrics, you know. They’re a lot more – I remember in the rehearsals, like probably the second week, when we started rehearsing for this record, you started, this song ‘House of Cards’ and the lyric in the first line ‘I don’t want to be your friend; I want to be your lover," as a [deep voice] hello, you know. This is good and this is like good and that was something, you know, that Thom hadn’t done for a while. So that was, that I think, personally speaking, that was the main thing I realized on the record about music is that actually accessibility is really about 80 percent vocals, what the guy is singing about and you’re moving people, and 20 percent the music in the background is literally the backdrop to it. So, you know these lyrics are moving me when we were working them and in the rough demos that we had from our fruit farm and playing on the motorway on the way home."

Thom: [mumbles]

Ed: "Yeah, it’s moving me. It’s like, this is great. This, this is really cool. So, uh, yeah, it was sort of pushing all of the right buttons amongst us all."

Murray: "So you could meet the most hardcore beats record, you know, you could literally make Aphex Twin look like Steps, and just over the top of it. I love you, I love you, yes, I do. It’s just in theory. If you really want to go extreme one day, just whack a couple of lyrics. It’s funny you should mention that, for me, as a fan, when I hear certain lines, you know, you see how fun it is, the starkness of it "if I could be who you wanted" or musically even just the start of "Idioteque" or more recently it’s "All I Want", and that makes me go rigid when I see it live like today, you know, even a rehearsed stanza. What does it for you, what’s the Radiohead songs that you, that just, just does it to you from where you’re standing; I know what it’s like for me."

Ed: "Well, for me, like for me, on this record "Arpeggi" was a big one for me. Like you’re lyrics, what you’re singing on the lyrics. And you know, you’re almost given with the band, the music’s there in a way, but the lyrics and, um, "All I Need," but "Arpeggi" and also the middle section on "Bodysnatchers", you know, "has the light gone out for you, because the light’s gone out for me, it’s the 20th century" it’s like, yeah, this is, you know, this is what I want to hear, I want to hear, so it’s really great, it’s still good, you can still go out and play those songs like we were today and "All I Need" and "Bodysnatchers" and you’re still getting a buzz off of – the thing is that you’ve got the lyric and you’ve got the sound around it that, that just sort of heightens it all, it all comes together."

Murray: "And now comes the smile from there, you know."

Ed: "Totally, yeah, that’s where my smiling comes from. It is those ‘yeah,’ moments, that ‘whoah’."

Murray: "And leading up to doing this, you know, cause I’ve never actually met Thom until today, and, nice to meet you though, right, it’s looking good. I was thinking that earlier, it’s funny when you meet someone, it’s always totally different, I was thinking. A lot of top blokes have met you, you know, Matt Filmstar (???)."

Thom: "But actually" (laughs)

Murray: "He’s actually got really nice hair. It was nice, I didn’t expect, a wig, you know, but it’s really good. Leading up to today, right, loads of mates are going to this Radiohead gig, but we’re getting to put these tracks out and the things that my mates were saying is not what they say when McCartney was on the show or Nick Cave was on the show. They’re jealous for starters. You mean, Radiohead, they’re like what are you going to ask them, they never ask me these questions. One girl, who’s 22, so you can work out how old she was when you first started listening to records, said meeting Radiohead that’s like the equivalent of 21st century to meeting Mozart."

Thom and Ed: [laughs]

Murray: "But, right, that’s like, you know what I mean, you know –"

Thom: "The majority of the ??? read music. I dunno."

Murray: "But the majority of the composers never read music either. There are loads of great musicians that never learned to read music. Lennon couldn’t read music."

Thom: "Right."

Ed: "Right, that’s true."

Murray: "Do you feel that pressure of greatest album in the world ever, greatest band in the world ever, best live band in the world today. How do you deal with that?"

Thom: "It’s not, it’s, um, nothing to do with us." [laughs]

Ed: "Well you can choose to read it and hear it, if you want to. If you don’t want to hear it or read it, you don’t have to. And I think, you know, Thom and I just don’t, don’t read anything, don’t hear anything. And occasionally when you do hear something, it’s really great. Like I remember you, when you did some Glastonbury thing, some battle of the bands, Glastonbury about two years ago –"

Thom: " –you banged on about it –"

Ed: "Yeah, and I sat in a car, you know, with the feeling that we were having bad rehearsals –"

Thom: "Yeah, yeah, the band was going tits up."

Ed: "You had a young family and you’d been away all night and you’d just been to Sainsbury’s –"

Everyone: [laughs]

Ed: "It’s really really an unromantic place to be on a Friday, stuck in a traffic jam, and you called Glastonbury and you said, like, I think it was with Edith, and people had voted us like, favorite, band they most wanted to see at Glastonbury that weekend, and you just go ‘I just want to be there, too,’ you don’t normally hear that stuff, you know."

Thom: "We don’t get out much."

Ed: "No, and you’ve got the same friends – "

Thom: "I went to Glastonbury last year,"

Ed: "Yeah."

Thom: "It was a real mind-blowing thing, because, um, it was, just you know, just going as a punter with a family and that, and it was really, it was, people were really nice and was really mellow and there was no weirdness, you know man. I don’t know about you, but I just turned off from all this crap after OK Computer because people were following me around, saying very peculiar things and I didn’t really like it. But it is a bit of a shock when you sort of are exposed to it occasionally and mostly it’s really mellow, it’s really nice, so."

Murray: "Ah."

Thom: "We’re very lucky, man."

Murray: "We fixed that voting for you. It’s only because I like Radiohead. You finished just between Oxfizz (???), right and Five, you know. I thought they’re going through hard times, I’ll give them proof how amazing you are live today. ‘All I Need’ going to play now, an exclusive that hasn’t been played yet, and ‘Nude’, as well, thought they’d go well together because they both have a similar vibe to them. So we are in the company of Radiohead. Ed and Thom are doing the talking. Let’s take two more live tracks, ‘All I Need’ and my favorite track from today and I think my favorite track from In Rainbows, probably for the same thing you were talking about, lyrics, and ‘Nude’ as well."

[All I Need]


Murray: "That’s ‘All I Need’ and ‘Nude’. It’s Radiohead at the BBC and we’re in the company of Radiohead tonight. I want to go back to the time warp of Pablo Honey, delayed success. You end up touring it for years. There’s a creative redundancy to that, you felt in a very bad place. You nearly broke up. Did you look back in hindsight that’s the event that fuels the need to always be on the move and always being creative, selling the album this way, almost like the fight against that happening again?"

Thom: "I think if you get burnt once then, um, yeah, I think it’s quite it’s a very lucky position, you sort of, you kind of, we ended up getting the best of both worlds sort of by accident because, because we would have not been tolerated sort of commercially speaking for so long if it hadn’t been for "Creep" and all that. And, um, yeah, you spend your whole life trying to prove otherwise afterwards because "Creep" was an accident, there was no intention to sort of produce this thing or whatever. But it also sort of makes you think, well accidents are obviously what we want to be doing so let’s carry on being accidental or whatever, as much as you can be following your random path or whatever it is. But for me, personally, a lot of it was, was from the old school thing as well where you sort of have a certain, um – what’s the word? –value or you kind of have to hold what you’re doing a certain way and that always really informed for me how we carried on, if that makes any sense at all, which it probably doesn’t."

Murray: "It makes a lot of sense. And does the good now outweigh the bad of that moment? Maybe you go well "Iron Lung" was a reaction to that, ok man, that was reaction, but still that doesn’t outweigh two years of that. And, ok, The Bends is a great record, and Ok Computer, that’s a reaction, Kid A continues to change, by now, surely, a blessing in disguise, the whole "Creep" thing is a blessing in disguise."

Ed: "Oh completely. And I think we realized, probably quite quickly afterwards. It was, as Thom said that whole thing The Bends was because of "Creep", you had to have 12 singles on it rather than people going they have one song on that record. It’s got to have 12 singles, what we thought were 12 singles."

Thom: "In our little world."

Ed: "Yes." [laughs]

Murray: "’Black Star’ wasn’t one to fill the dance floor?"

Everyone: [laughs]

Murray: "One more question about the older days. We talked about getting a lot of accolades, certainly as soon as Ok Computer came out wherever you were and people were loving you in every publication, but back to the earlier things, back when people weren’t saying nice things, but then Michael Stipe says you’re amazing, does that still stick as one of the best moments where you felt like maybe six-year-olds going that’s a moment. You know -"

Thom: "When we were on tour with them and stuff, that was pretty mega. I mean it was really the fun of it was like, um, you know, doing the whatever it was, 30 or 40 minute warm-up slot."

Ed: "It’s great."

Thom: "It was like, you know, warm-up slots in these sorts of gigs, they’re a license to just have a really good time, if you go in with the right attitude, you know. You’re just, you know, going to warm the little hot coals underneath the stage so when they go on they’re jumping up and down, ready to go."

Murray: [laughs]

Thom: "It was a lot of that, but you got to do that and get you sort of got to watch from the side of the stage every night and all of that sort of stuff."

Ed: "Drunk. Mostly drunk every night."

Thom: "Yeah."

Murray: "And the sad thing is, man, I’m sure you’re thinking while you’re watching them, we supported them, that’s the best moment."

Ed, Thom: "Yes, yeah."

Murray: "Let’s put this whole, because I have a different opinion, Ok Computer for me is not the greatest album in the world ever, the best Radiohead album is Kid A."

Thom: "Hooray!"

Murray: "Hands down. This is why – "

Thom: "Someone thinks that."

Murray: "Because I don’t want to hear ‘No Surprises’ anymore."

Ed and Thom: [laugh]

Murray: "I don’t mean to be rude, but it’s a great song and the first time I heard it live and I’m watching Jonny and I’m going this is amazing, but Kid A doesn’t have one flicking track; there’s no flicks. You don’t flick any track on Kid A. There’s no reason, you don’t get sick of any track on the record."

Ed: "Yeah."

Murray: "That’s the masterpiece right there."

Ed: "Yeah."

Murray: "Are you trying to make a better album than Kid A rather than a better album than Ok Computer?"

Ed: "It was never about making a better album than Ok Computer. I mean, Kid A that’s something we’re immensely proud of, you know."

Thom: "I just hope people go back to it and revise it."

Ed: "I think people do, I mean I think loads of people love that record. They might have taken a long time getting there, but -"

Thom: "My missus is into it now."

Ed: "Yeah."

Murray: "Brilliant."

Thom: "She says it got passed over a little bit and when she listens to it now, she was surprised how much got passed over. So, um, I don’t think it did get passed over. I think it did us a lot of favors, you know, like in the US, man, it was number one in the US."

Murray: "Yeah, yeah, straight in."

Thom: "That’s mental."

Ed: "There’s a guy from Billboard and he said how do you feel to have the weirdest number one record ever in America. It was like yeah, alright. That’s what we’re talking about."

Murray: "Have America got Radiohead?"

Ed: "Yeah."

Murray: "At most times, quicker than Britain?"

Ed: "Totally."

Murray: "Because I get that feeling when I read the press from over there, even this album. Even, you’ll go and do the tour there and then come back here. Is America in many ways always been just more open?"

Ed: "I think it’s this bit, this thing that we tap into this whole thing, like, that whole Deadhead scene a bit, you know."

Thom: "Yeah."

Ed: "That’s a big thing over there. And the warm, the outdoor gigs, the warm summer nights, everybody stands and, um, I think they have but it’s, you know what, it’s always far harder to in your own country it’s always far harder, it’s like playing in front of your family or something isn’t it. People, the moment you open your mouth in this country, people sort of know where you come from. So that always plays a big part in this country and the way you’re set up. But in America, it’s –"

Thom: "Do you remember when, sorry, when we were kids, well when we were ???, mates of ours in Oxford there’s this band called the Candy Skins that we’d and they went out to the US, remember, and they came back and they’d had, like, the best time because they had, you know, Oxford accents. Well, kind of, most of them. Um, and the girls just absolutely loved them. And this was like when we were, what, 18 and stuff. 19?"

Ed: "Yeah, 18 or 19."

Thom: "We were like, yeah, we’re having some of that."

Murray: "Only till they hear an Irish accent, I have to be honest."

Thom and Ed: "Yeah, yeah."

Thom: "Is that right, is that what you think?"

Murray: "Let’s do another couple of live tracks. I just want to precursor that by saying "Idioteque" for me, you shouldn’t have a list of top 10 songs ever, but that’s in there. I can’t dance, but there’s certain songs that if I’m in a club and they come on, there’s "The Man Don’t Give a [Fuck]" by Super Furry Animals, you know, there’s a very very small list. If I hear "Idioteque," it like possesses me, it just possesses me."

Thom: "Even the Kid A version of it?"

Murray: "Yeah."

Ed: "Do you hear it in the club, have you heard it in the club?"

Murray: "Yeah."

Thom: [mumbles]

Murray: "I don’t do remixes on ya."

Ed: "No,no, no."

Murray: "Indie club legend me. I can find them anywhere. Any basement, any night of the week, at any time there’s someone playing it. Bother the DJ enough and I’ll put it on. That radio one show guy, put it on."

Ed: [laughs]

Murray: "People will dance, honestly. Just me. Let’s do a couple more live tracks. We’re in the company of Radiohead, Thom and Ed are talking to us and we’re going to do ‘Videotape’, which you finished with at the matinee gig and should we do ‘Myxamytosis’?"

Thom: "Absolutely. That’s a good one."

Murray: "Lovely, here they are."



Murray: "’Myxomatosis’ from Hail to the Thief and ‘Videotape’ done today as a matinee performance, as a part of Radiohead at the BBC and we’re in the company of Radiohead tonight. Guys, do you think you’re in danger as becoming known as a happy band? These podcasts you’re on there and it’s just fun, it’s fun to watch and the little video sound bites you did for the tracks from this album. Are we reaching a point where people are going to go well, there goes Radiohead?"

Thom: "No, man."

Murray: "They’re so cheery, I can’t stomach that."

Thom: "Yeah, no."

Everyone: [laughs]

Thom: "Nice idea, though."

Murray: "I do think, though, there is maybe just a slight shift in how people –"

Ed: "Well, those webcasts, one of the reasons they were born out of having a laugh it’s nice, we felt that you know, people always say oh, Radiohead they’re so heavy and you know it’s nice to rebalance it. And there is a bit of lightness there, you know.

Murray: "Mmm-hmm."

Thom: "We just, yeah, it’s just really good fun to do. We really enjoy it because it’s like another creative outlet. And you can’t take something like that seriously anyway, I don’t think. It’s like, if you’re on the web and that, you know, everything’s pretty low rent."

Murray: "I love it. I think the first time, I could be wrong, it could be the first time you performed anything from In Rainbows would that have been Videotape on Nigel Godrich’s -"

Thom: "On the Basement thing, yeah."

Murray: "We have this internet feature, the Black Hole, and someone sent it in the very next day so we played that and we think that this is from the new album. But that must have been twelve months ago or something."

Thom: "Quite a while ago, no, more than that."

Murray: "More than that? There you go, world exclusive. Right, so we have this whole thing about the amount of albums written Radiohead sell and yet if I listen to daytime British radio, mainstream daytime British radio, I mean ‘Fake Plastic Trees’ I might hear, I might hear ‘High and Dry’ or the C-word. Does it annoy you because there are bands that have sold less records and write more mainstream stuff and I know every word of them, even though I don’t like them. Does it annoy you when people go we’re going to play Radiohead and oh I’ll maybe keep the station tuned in and then it’s the same two or three songs over and over again?"

Thom: "Umm, well, it doesn’t annoy us because, you know, you blow around in the wind, man, it’s kind of not why you do it and it’s out of your control. I mean, we think everything we do the idea is not to be difficult, the idea is to communicate, that’s why we make music, so. It would be nice if it was played on the radio or whatever, but it’s not why we carry on. And it would probably weird me out if we were suddenly played on the radio a lot, actually."

Ed: "I just remember when we were teenagers, getting like The Smiths and R.E.M., they were never played."

Murray: "No, that’s true."

Ed: "They were never played on daytime radio."

Thom: "We talked to Johnny Marr about it."

Murray: "’Smells Like Teen Spirit’ never played."

Ed: "No, Queen is Dead, when that came out, you know, no one played that on daytime Radio One or Two or whatever. It was evening only."

Thom: "So, what, are we flattered?"

Ed: "Well, it’s just the way that it goes. To be their bedfellows is good enough."

Murray: "One of the big issues I’d say, as you’d say, is the environment. The funny thing about the environment, though is that we’re all guilty, right. We all come out a bit dirty, don’t we?"

Thom: "What, with, um"

Murray: "With the environment."

Thom: "Yeah, this is my big problem."

Murray: "I don’t get all the finger pointing, cause we, right. Nobody 20 years ago, nobody, probably not even yourself, we weren’t even thinking about it. You weren’t going into the shop going I’ve brought my own plastic bag or I use this paper bag or do whatever, you know. So we’re all guilty, so I don’t really get the finger pointing, you know."

Thom: "Yeah, you know."

Murray: "Pablo Honey probably spewed out all sorts of things into the atmosphere."

Thom: "We were all brought up with photos of lotus sprees or whatever in our bedrooms."

Murray: "In my area I live in, just the last thing honestly, the whole community recycles. It’s a fairly conscience neighborhood, everyone’s kind of got it. Then when I read about other countries that are doing nothing, it’s almost like in global terms, just how much of a role can we play here? I suppose we could set a precedence."

Thom: "Well, it’s all about the EU. Right, because, um, as we know the American economy is struggling at the moment, but the EU economy is not struggling. The EU economy has got potentially, it’s like the most forward thinking in some ways and is the most able to start the process off. If the EU engage with that, it would actually start the ball rolling, you know. Obviously it would be great if America would – if five years ago or whatever it was when Georgie boy hadn’t walked away from Kyoto agreement, we’d all be in a completely different situation right now full stop.

Murray: "We should start the recycling by you giving me that leather jacket because that is a cracker by the way."

Everyone: [laughs]

Murray: "I bought this one the other day and I was really pleased with and now I feel like a street walker looking at your one, so if you want that recycled, just let me know."

Thom: "I’ll let you know."

Murray: "Right, let’s take another two live tracks. From Radiohead at the BBC, the opening track of In Rainbows and the opening track today was ’15 Step’, which was great. And you did ‘Optimistic.’ It’s always a good sign of a new record if when you do the older one the fan sits back and goes meh. I don’t mean to be rude, but out of the whole set, it was like I’ll listen to this, it was alright. I much more enjoyed everything off the new album, so it’s a good sign. Anyway, nearly finished, in the company of Radiohead, here’s ‘15 Step’. Never played it before, so this first time on radio for what it’s worth, and ‘Optimistic’ as well."

[15 Step]


Murray: "It’s ‘Optimistic’ then, one of two old tracks. You did two old tracks today, didn’t you, at the matinee show. That and ‘Myxamytosis.’"

Thom: "I can’t remember, man."

Ed: "And ‘Morning Bell.’"

Murray: "’Morning Bell’, of course. We opened with ‘Morning Bell’ as well. And ’15 Step’, playing that for the first time. Just a few random things to finish with. Did you once move Madonna from a seat-"

Ed: "Yeah."

Murray: "-so that your parents could get a better view? Don’t care about that. Was she alright with that? Was she good with that?"

Ed: "I have no idea. I think she was fine. At the Plaza in New York."

Murray: "I love that. Get the priorities straight. Family first, Madonna second."

Ed: "Always."

Murray: "That’s always been my motto."

Ed: "Always." [laughs]

Murray: "For everything. Also, you’ve kids as well, Ed, don’t you?"

Ed: "Yeah."

Murray: "What about the kids? Picking up the instruments, yet?"

Thom: "Yes."

Murray: "Get in."

Thom: "Yes."

Murray: "Good."

Ed: "Yeah, three-year-old, four-year-old boy."

Murray: "Because you just don’t know, you just don’t know. I mean, Pele, junior can’t kick a football straight."

Ed: "Can he not?"

Murray: "You just never know how it’s going to work out. Looking forward to that, looking forward to that. I heard, apparently, that, I don’t know which one of the two of you said it, but it was one of you, because Edith told me and it was with Edith that you wanted to win the Eurovision, is he talking rubbish again?"

Ed: "What?"

Murray: "One of you two said you wanted to win the Eurovision."

Thom: "Well, it would have been nice."

Ed: "Oh, this was the whole Jonathon Ross. Yeah."

Thom: "Yeah."

Ed: "About five years ago he, he raised the question."

Thom: "And when I saw him a few weeks ago, he brought it back up again. And I told him that, um, it would be seen as a bit of an insult if we’d gone to them and said we’d like to, they probably would have been offended. Well, we’d have to go through the heats, obviously. "

Ed: "We wouldn’t even win the heats. We would get beaten. It would have been a phone in, we’d get beaten."

Murray: "You’d get beaten by a person that came in 7th.

Ed: "Exactly."

Thom: "We would have said obviously we’ll only do it if we win."

Murray: "Exactly."

Thom: "I think that was the point where they probably lost interest."

Murray: "Well, ??? won, a cartoon rock band."

Thom: "Well, there you go, you see."

Murray: "Exactly. That came out as the worst insult, beaten by a cartoon rock band."

Thom: "That’s what I’m talking about."

[recording ends]