Thom Yorke’s Isolated Vocal Track on Radiohead’s 1992 Classic, ‘Creep’

The 1992 song “Creep,” Radio­head’s anthem of self loathing and unre­quit­ed love, was orig­i­nal­ly record­ed in one take.

The song had been writ­ten sev­er­al years ear­li­er by singer Thom Yorke, when he was still a stu­dent at Exeter Uni­ver­si­ty. “When I wrote it,” Yorke said in an ear­ly inter­view, “I was in the mid­dle of a real­ly, real­ly seri­ous obses­sion. It last­ed about eight months. And it was unsuc­cess­ful, which made it even worse. She knows who she is.”

The emo­tions were appar­ent­ly still run­ning deep when Yorke and his band­mates went into Chip­ping Nor­ton Stu­dios in their home­town of Oxford to record their debut album, Pablo Hon­ey. The raw, cathar­tic qual­i­ty of “Creep” caused an imme­di­ate stir, said pro­duc­er Paul Kolderie. “Every­one in the stu­dio applaud­ed when it was done.”

The orig­i­nal take was large­ly retained, except for a few touch-ups. Yorke went back into the stu­dio and record­ed a rewrit­ten first verse. He also agreed to change the sar­cas­tic phrase “You’re so fuck­ing spe­cial” to “You’re so very spe­cial” to make the song suit­able for Amer­i­can radio. You can hear Yorke’s vocals from the san­i­tized ver­sion in the iso­lat­ed track above. For the full arrange­ment, see the offi­cial video below.

Relat­ed Con­tent:

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

A Mid­dle-East­ern Ver­sion of Radiohead’s 1997 Hit “Kar­ma Police”

Radiohead’s Thom Yorke Gives Teenage Girls Endear­ing Advice About Boys (And Much More)

Radio­head-Approved, Fan-Made Film of the Band at Rose­land for 2011′s The King of Limbs Tour

Kurt Cobain’s Iso­lat­ed Vocal Track From ‘Smells Like Teen Spir­it,’ 1991

Watch Lollapalooza 2013. It’s Streaming Live on YouTube This Weekend, and It’s Free

A quick heads up: The Lol­la­palooza 2013 music fes­ti­val is get­ting going in Chica­go. And it’s stream­ing live (for free) all this week­end on YouTube. Right now, you can catch The Killers on stage. Nine Inch Nails will be per­form­ing lat­er tonight (Fri­day). You can find the line­up for Sat­ur­day and Sun­day here. Enjoy the shows.

Noam Chomsky Went Gangnam Style … Ever So Briefly?

I’m usu­al­ly pret­ty dialed into this stuff, but some­how this one slipped by me last fall. Dur­ing the Gang­nam Style craze, MIT shot a par­o­dy video where Noam Chom­sky, the father of mod­ern lin­guis­tics, made a cameo appear­ance. Maybe it slipped by me because the appear­ance is brief. About 5 sec­onds, start­ing at the 3:20 mark. We were on the ball enough, how­ev­er, to spot anoth­er par­o­dy by Ai Wei­wei and then we had Slavoj Žižek demys­ti­fy­ing the whole Gang­nam Style phe­nom­e­non, com­plete with wild hand ges­tic­u­la­tions and fran­tic rubs of the nose. Any­way, one day this will make for some good archival footage — pub­lic intel­lec­tu­al meets inter­na­tion­al pop cul­ture craze — so we’re adding it to the trove.

Relat­ed Con­tent:

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

A Shirt­less Slavoj Žižek Explains the Pur­pose of Phi­los­o­phy from the Com­fort of His Bed

Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er (1971)

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Guitar Stories: Mark Knopfler on the Six Guitars That Shaped His Career

When Dire Straits front­man Mark Knopfler was a kid grow­ing up in New­cas­tle-Upon-Tyne, Eng­land, he dreamed about get­ting his own gui­tar. “I remem­ber stand­ing out­side music stores with my nose pressed up against the glass, just star­ing at those elec­tric gui­tars,” he told Peo­ple mag­a­zine in 1985. “I used to smell Fend­er cat­a­logs, I want­ed one so bad.” Knopfler even­tu­al­ly talked his father into buy­ing him a Höfn­er Super Sol­id V2 gui­tar for £50. The only prob­lem was, it did­n’t come with an ampli­fi­er. “I did­n’t have the nerve to ask poor old dad for an amp,” Knopfler says in the doc­u­men­tary above. “I blew up the fam­i­ly radio in fair­ly short order.”

Knopfler tells the sto­ry of that first gui­tar and five oth­ers that shaped his career in this fas­ci­nat­ing 45-minute doc­u­men­tary that aired in Britain last Octo­ber on the Sky Arts tele­vi­sion chan­nel. Gui­tar Sto­ries: Mark Knopfler is host­ed by Knopfler’s friend and co-founder of Dire Straits, bassist John Ill­s­ley. The film offers a num­ber of insights into Knopfler’s music and the key instru­ments that influ­enced his evolv­ing style.

From the open­ing scenes at a music shop in New­castle’s Cen­tral Arcade, where the young Knopfler spent hours star­ing at gui­tars through win­dows, Ill­s­ley and Knopfler move on to the city of Leeds, where Knopfler once worked as a junior reporter for the York­shire Evening Post. There they meet up with his long­time friend and men­tor Steve Phillips, a mem­ber of Knopfler’s post-Dire Straits band The Not­ting Hill­bil­lies. An afi­ciona­do of the Delta Blues, Phillips intro­duced the young Knopfler to the dis­tinc­tive sound of  “res­onator” acoustic gui­tars.

Although it was­n’t the first res­onator gui­tar he ever owned, Knopfler choos­es as his sec­ond key gui­tar a 1937 Nation­al Style “O” gui­tar he bought from Phillips in 1978. The dis­tinc­tive nick­el-plat­ed brass gui­tar, with its palm tree etch­ings around the edges and on the back, was fea­tured on the cov­er of Dire Straits’ best­selling 1985 album Broth­ers in Armsand was used for some of the band’s best songs. At one point in the film, Knopfler picks up the Nation­al and demon­strates how he hit on the famous arpeg­gio lines in “Romeo and Juli­et,” from the Mak­ing Movies album, while exper­i­ment­ing with an open G tun­ing.

From Leeds, Ill­s­ley and Knopfler trav­el to the loca­tion of the orig­i­nal Path­way Stu­dios in Lon­don, where they record­ed their 1978 debut album, Dire Straits. Knopfler picks up his third key gui­tar, a 1961 Fend­er Stra­to­cast­er, and plays a few notes from the band’s break­through song, “Sul­tans of Swing.” The Stra­to­cast­er was the gui­tar Knopfler had always want­ed, but as his music pro­gressed he sought to diver­si­fy his sound. Knopfler’s fourth key gui­tar, which he played on Broth­ers in Arms, is a sun­burst 1958 Gib­son Les Paul. In one par­tic­u­lar­ly inter­est­ing moment in the film, Knopfler explains how he came up with the dis­tinc­tive gui­tar sound for the hit song “Mon­ey for Noth­ing” by play­ing the Les Paul through a sta­t­ic, part­ly depressed wah-wah ped­al.

While tour­ing with Dire Straits, Knopfler found it dif­fi­cult to con­stant­ly change back and forth between gui­tars, so he decid­ed to look for a sin­gle gui­tar that could pro­duce a vari­ety of sounds. To explain what hap­pened next, Knopfler and Ill­s­ley trav­el to the SoHo neigh­bor­hood of New York, where they pay a vis­it to Rudy’s Music on Broome Street and talk to the pro­pri­etor, Knopfler’s long­time friend Rudy Pen­sa, who has built cus­tom gui­tars since 1982. Knopfler and Pen­sa describe their col­lab­o­ra­tion on the design of Knopfler’s fifth key gui­tar, the Pen­sa MK‑1, which he played dur­ing his final years with Dire Straits.

The film ends with a vis­it to the Long Island work­shop of mas­ter luthi­er John Mon­teleone. In 2008 Mon­teleone built the sixth key gui­tar in Knopfler’s life, the acoustic “Isabel­la” arch­top, named after Knopfler’s eldest daugh­ter. Knopfler was so inspired by Mon­teleone’s crafts­man­ship that he wrote a song called “Mon­teleone” for his 2009 solo album, Get Lucky. The song speaks elo­quent­ly of Knopfler’s admi­ra­tion of Mon­teleone and, between the lines per­haps, of his life­long love affair with gui­tars:

via MetaFil­ter

Relat­ed con­tent:

Eric Clap­ton Tries Out Gui­tars at Home and Talks About the Bea­t­les, Cream, and His Musi­cal Roots

Now I Know My LSD ABCs: A Trippy Animation of the Alphabet

Many inter­ests have spurred cre­ative alpha­bet col­lec­tions: New York City. Geek­dom. Food snob­bery. Child­hood calami­ty. And now?

Actu­al­ly, LSD ABC, defies neat cat­e­go­riza­tion. Beyond the fact that they’re both spelled out using let­ters, what could Dim Sum pos­si­bly have in com­mon with VHS? Not much pri­or serv­ing as inspi­ra­tional prompts for graph­ic design­ers Lau­rent & Françoise (oth­er­wise known as Lau­ra Sicouri and Kadavre Exquis). Now they’re 1/13th of a delight­ful­ly twist­ed ani­mat­ed whole, one of those dead­line-free pet projects that goes on to spawn a lim­it­ed edi­tion vinyl album.

The duo is prone to fetishiz­ing the anachro­nis­tic tech­nolo­gies of the recent past, in a man­ner slight­ly more ele­gant than come­di­ans Tim Hei­deck­er and Eric Ware­heim. They toss in a foot sim­i­lar to the one Ter­ry Gilliam used to such effect on Mon­ty Python. H and S are sub­ject­ed to the sort of indig­ni­ties Wile E. Coy­ote used to suf­fer at the hands of the Road Run­ner. It’s all tied togeth­er with AT&T Lab’s decid­ed­ly unnat­ur­al-sound­ing Nat­ur­al Voice text-to-speech nar­ra­tion.

While it’s dif­fi­cult to pick a favorite from such a mind bend­ing array, I’m going to have to go with P…for Pet Piano, natch. You?

Relat­ed Con­tent:

Watch All of Ter­ry Gilliam’s Mon­ty Python Ani­ma­tions in a Row

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Ayun Hal­l­i­day is stymied by the lack of Ys on cer­tain Euro­pean key­boards. Fol­low her @AyunHalliday

Remembering J.J. Cale, Virtuoso Guitarist and Author of ‘Cocaine’ and ‘After Midnight,’ with a 1979 Concert

J.J. Cale died on Fri­day. Cale was one of the great­est and most influ­en­tial gui­tar play­ers of the rock and roll era. “Of all the play­ers I ever heard,” said Neil Young, “it’s got­ta be Hen­drix and J.J. Cale who are the best elec­tric gui­tar play­ers.”

It’s hard to imag­ine a musi­cian more dia­met­ri­cal­ly opposed to Jimi Hen­drix than Cale, who was the mas­ter of nuance and under­state­ment. Per­haps the best word to describe his coun­try swing-inflect­ed gui­tar play­ing would be “cool.” The restrained dynam­ics, the del­i­cate touch — Cale’s play­ing demand­ed close atten­tion and sen­si­tiv­i­ty in a lis­ten­er. His vocals, too, were kept way down in the mix, a reflec­tion of his intro­vert­ed per­son­al­i­ty. “The effort­less­ness, that restraint and under­play­ing, under-singing — it was just very pow­er­ful,” said pop musi­cian Beck to the Los Ange­les Times in 2009. “The pow­er of doing less and hold­ing back in a song, I’ve tak­en a lot of influ­ence from that.”

Per­haps the great­est exem­plar of Cale’s wide influ­ence was Eric Clap­ton, who made hits out of two pre­vi­ous­ly obscure songs writ­ten by Cale — “After Mid­night” and “Cocaine” — and pat­terned much of his ’70s music after the Tul­sa Sound Cale helped cre­ate. When asked by Van­i­ty Fair to name the liv­ing per­son he most admired, Clap­ton was unequiv­o­cal: J.J. Cale. “In my hum­ble opin­ion,” Clap­ton wrote in his 2007 auto­bi­og­ra­phy, “he is one of the most impor­tant artists in the his­to­ry of rock, qui­et­ly rep­re­sent­ing the great­est asset his coun­try has ever had.”

To remem­ber Cale and his artistry, we bring you a 1979 video (above) of Cale and his band play­ing live at Rain­bow Stu­dios in Los Ange­les with his old friend and fel­low Okla­homan Leon Rus­sell. Here’s the set list:

  1. “T‑Bone Shuf­fle” (pro­logue)
  2. “Nowhere to Run”
  3. “Cocaine”
  4. “Ten Easy Lessons”
  5. “Sen­si­tive kind”
  6. “Hands Off Her”
  7. “Lou-Easy-Ann”
  8. “Going Down”
  9. “Cori­na Cori­na”
  10. “Roll On”
  11. “No Sweat”
  12. “Crazy Mama”
  13. “Fate of a Fool”
  14. “Boilin’ Pot”
  15. “After Mid­night”
  16. “T‑Bone Shuf­fle”
  17. “T‑Bone Back­wards”
  18. “Same Old Blues”
  19. “Don’t Cry Sis­ter”
  20. “Set Your Soul Free (Tell Me Who You Care)”
  21. “24 Hours a Day”

Björk and Sir David Attenborough Team Up in a New Documentary About Music and Technology

There’s a long and com­pan­ion­able his­to­ry between music and math­e­mat­ics. While it is often said that every cul­ture has its own form of music, it’s also near­ly just as true that most ancient cul­tures explored the math­e­mat­i­cal prin­ci­ples of sound. Leave it to the Pythagore­ans of Ancient Greece to notice the rela­tion­ship between musi­cal scales and math­e­mat­i­cal ratios.

How music and sci­ence inter­sect is a more mod­ern inquiry. Fields like neu­ro­science and mod­ern med­i­cine and tech­nol­o­gy make both the roots of music and cog­ni­tion, as well as how sci­ence can inspire music, a crack­ling fron­tier.

Chan­nel 4 in Eng­land aired a new doc­u­men­tary When Björk Met Atten­bor­ough on July 27th with—who better?—naturalist David Atten­bor­ough as host. Atten­bor­ough, who was famous­ly grant­ed priv­i­leged access to film Dian Fossey’s research on moun­tain goril­las, teams up with a less elu­sive but fas­ci­nat­ing fig­ure this time around. Atten­bor­ough actu­al­ly co-hosts the pro­gram with Björk.

Björk’s album Bio­phil­ia is the launch­ing-off point for the doc­u­men­tary. It’s an apt choice. Björk has called live per­for­mances of music on the album a “med­i­ta­tion on the rela­tion­ship between music, nature, and tech­nol­o­gy.”

New instru­ments were spe­cial­ly designed for the album and the songs are con­cep­tu­al­ly wed­ded to nat­ur­al phe­nom­e­na. “Moon” fea­tures musi­cal repeat­ing musi­cal cycles; “Thun­der­bolt” includes arpeg­gios inspired by the time between the moment when light­en­ing is seen and thun­der is heard.

In the doc­u­men­tary, Atten­bor­ough explores how music exists in the nat­ur­al world, tak­ing view­ers through the film­ing of the Reed War­bler and Blue Whales. For her part, Björk argues that cut­ting-edge tech­nol­o­gy keeps music intu­itive and acces­si­ble. Fea­tured are the instru­ments Björk devel­oped for Bio­phil­ia: the “pen­du­lum harp,” the “sharp­si­chord” and the “game­leste,” a com­bi­na­tion game­lan and celes­ta pro­grammed to be played remote­ly on an iPad.

You can watch the doc­u­men­tary above.

via io9

Relat­ed Con­tent:

Watch Philip Glass Remix His Own Music—Then Try it Your­self With a New App

Day of Light: A Crowd­sourced Film by Mul­ti­me­dia Genius Bri­an Eno

Kate Rix writes about dig­i­tal media and edu­ca­tion. Fol­low her on Twit­ter @mskaterix and learn more about her work by vis­it­ing .

Mick Jagger Defends the Rights of the Individual After His Legendary 1967 Drug Bust

Mick Jag­ger turns 70 today, and I think we can safe­ly say at this point that he’s going to stick with this rock star thing. But if at some point in his youth he had decid­ed on a dif­fer­ent career, he might have gone with “post-drug bust inter­view sub­ject” (or civ­il lib­er­tar­i­an activist). It’s a skill he prac­ticed often. Take the clip above, filmed after the leg­endary 1967 Stones’ drug bust after a News of the World arti­cle exposed the band’s recre­ation­al use, along with that of the Moody Blues and The Who. The bust, it turns out, was an L.A. Con­fi­den­tial-style frame-up between the tabloid and the police, and includ­ed the col­lab­o­ra­tion of a deal­er known appro­pri­ate­ly as “Acid King,” real name David Schnei­der­man. Accord­ing to Simon Wells’ exhaus­tive But­ter­fly on a Wheel: The Great Rolling Stones Drug Bust, Schnei­der­man “remains prob­a­bly the most enig­mat­ic fig­ure in rock and roll folk­lore” and claimed to work for the CIA, MI5, and oth­er secret agen­cies (turns out this may have been true).

So the Stones were set up, which doesn’t mean they weren’t also real­ly high (hear Wells tell the sto­ry in detail in an author inter­view above). But they took it in stride, using the pub­lic­i­ty to sub­stan­ti­ate their image as rock and roll’s bad boys and send­ing the suave, vol­u­ble Jag­ger out on press jags, like the very strange pan­el inter­view with the show World in Action, from which the above excerpt comes, where Mick sits down with a cou­ple chap­lains and a cou­ple suits and defends the rights of the indi­vid­ual. Jag­ger proves him­self a very able spokesman for his generation—intelligent, poised, and yes, ridicu­lous­ly hand­some. He not only stood up to defend him­self in inter­views through­out the Stones’ tur­bu­lent drug-fueled hey­days, but he stood by his man Kei­th as well. Check him out below field­ing press ques­tions with aplomb for a slight­ly addled Richards after one of Keith’s drug tri­als.

Relat­ed Con­tent:

Mick Jag­ger Tells the Sto­ry Behind ‘Gimme Shel­ter’ and Mer­ry Clayton’s Haunt­ing Back­ground Vocals

Mick Jag­ger, 15 Years Old, Shows Off His Rock Climb­ing Shoes on British TV (1959)

The Rolling Stones at 50: Mick, Kei­th, Char­lie & Ron­nie Revis­it Their Favorite Songs

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him at @jdmagness

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