In Rainbows Radiohead

Radiohead nominated for Grammy Awards

Radiohead’s In Rainbows has been nominated for “Album of the Year” in the year’s Grammy Awards.

Here’s who they are up against:
Coldplay – Viva La Vida Or Death And All His Friends
Lil Wayne – Tha Carter III
Ne-Yo – Year Of The Gentleman
Robert Plant & Alison Krauss – Raising Sand
Radiohead – In Rainbows

In addition to “Album of the Year”, they were also nominated in the following categories:
Best Rock Performance By A Duo Or Group With Vocals (House of Cards)
Best Rock Song (House of Cards)
Best Alternative Music Album (In Rainbows)
Best Boxed Or Special Limited Edition Package (In Rainbows)
Producer Of The Year, Non-Classical (Nigel Godrich)
Best Short Form Music Video (House of Cards)

See all the nominees here.

In Rainbows Radiohead

12 Cams, Create Your Rainbow

Prepare to be blown away.

Radiohead’s “15 Step” as performed recently in Japan, with 12 camera angles from you to choose from. Go and check it out.

(via our message board, Mortigi Tempo)

In Rainbows Radiohead tour

Radiohead coming to Mexico City in March 2009

We can’t find any official confirmation of this, but it appears that Radiohead will be playing Foro Sol in Mexico City on March 15, 16, and 17.

More at (in Spanish, obvs)

Over the almost 12 year history of this site, we have received more emails asking when Radiohead would be touring Mexico again after their 1994 tour than anything else.

In Rainbows Radiohead

Your Wednesday Just Got Better: RH Live Videos on iTunes

Apple iTunes

We were pleasantly surprised to find out that Radiohead In Rainbows From the Basement is available for you to download. The collection debuts exclusively through iTunes beginning today, June 25th and features live renditions of songs from In Rainbows and its bonus CD.

Here’s the tracklisting:
House of Cards
Weird Fishes/Arpeggi
15 Step
Go Slowly
Bangers & Mash
All I Need

Captured in a day with sound by Nigel Godrich and video direction by David Barnard, the videos represent the best recorded representation of Radiohead’s live performance to date.

Go forth and consume!

In Rainbows Radiohead

Nigel Godrich on “Nude”

godrich200.jpgThere’s an excellent article from Word Magazine with Radiohead’s “unofficial 6th man” and long-time producer, Nigel Godrich. Nigel is featured in an article called “The Music Producers” and he explains the very long, but amazing, history of “Nude.”

Nigel Godrich On NUDE by Radiohead (2007)

Nigel Godrich started out at RAK Studios, where he engineered Carnival Of Light by Ride and The Bends by Radiohead. He has produced Radiohead’s last four albums, and has also worked with Travis, Paul McCartney (Chaos And Creation In The Back Yard) and on Beck’s last three albums. He remixed U2’s Walk On and produced Band Aid 20’s Do They Know It’s Christmas?

Thom’s very prolific, he’s always writing, and one time I made a list of songs that he had that they hadn’t recorded. Radiohead have a little catalogue of songs that just never get done. It’s almost because it’s their best material and no version is ever quite good enough. It’s too precious to them. I said, “You have to record them, because one day you’re going to die and they’ll go with you. It’s criminal. And if you don’t fucking record them, I’m going to fucking do it! I’ll do a covers album!” And Nude was one of these songs.

After The Bends was all done and dusted, I’d seen them at a show and they said they’d been thinking about us all working together. We’d done a bunch of B-sides on The Bends and it had gone really well, so we hatched a plan to have a couple of little try-outs to see how it would work.

We booked a weekend in the studio to start recording what would become OK Computer, although it took a long time to really get into that. We recorded two songs; one was called Big Boots – actually, it was called Man O’ War at the time, which is another great lost Radiohead classic. The other thing we tried to record was a song called Nude. Thom had just written it and it was almost a different song to the version on In Rainbows. It’s recognisable, but it had different lyrics and it was a lot straighter. The idea was for it to be like an Al Green track. It had a Hammond going through it on the version we recorded that weekend. They liked it, it was deemed a great success. But then for some reason everyone went off it. We tried to record it a couple more times for OK Computer, probably about three times for Kid A and another three times for Hail To The Thief. But somehow it had gone.

We had a little holiday from each other. The band tried to record on their own, which – surprise, surprise – didn’t work. Then they tried working with someone else, which also didn’t work. During that time I went to see Colin, the bass player, and he played me a rough live version of Nude that they’d done in rehearsals. He’d written his new bassline, which transformed it from something very straight into something that had much more of a rhythmic flow. The chorus had been taken out – very Radiohead! – and there was this new vocal break and this new end section. It sounded like they were somehow terrified playing it, but it sounded OK. We recorded it three times and the final one – which we did in their house and then overdubbed in Covent Garden – is what you hear today.

Finally, for some inexplicable reason, it made it out! With Radiohead we always say, “It doesn’t matter how we get there, as long as we end up at the right place,” but actually I think the real skill is being able to recognise something that lands on your lap and is fully formed and wonderful. A big part of my job is trying to persuade Thom that just because this thing happened very quickly, it doesn’t mean it’s not great. He doesn’t understand what it is about what he does that’s great. He doesn’t know or understand where it comes from.

Songs have a kind of window where they are really most alive – and you have to capture it. Nude missed its window, and it took a lot of reinvention to bring it back to the place where we could capture it again in a way that resonated for the people playing it. It was essentially the same song; nothing had really changed. What has changed are the people playing it.

In Rainbows Jonny Greenwood Phil Selway Radiohead

Radiohead on

There is a lengthy article/interview with the band on for your reading pleasure.
Here’s a bit:

As unified as “In Rainbows” sounds, it took years to complete. The band began recording it with producer Mark Stent, the first time in years they didn’t work with Nigel Godrich.

The attempt was futile and Radiohead set out on tour to help bring the new songs into shape. When they returned to the studio, they went back to Godrich, considered the unofficial sixth member because of his importance in helping refine the group’s sound. (Colin calls his wealth of gear “like Aladdin’s cave.”)

“The key thing in actually propelling it forward was Nigel coming back into the process,” said Selway, 41. “The reality when we got in there was it still wasn’t good enough. We really had to raise our standards quite a lot.”

Typically, songs begin with Yorke writing something on piano or guitar with vocals and fleshing it out with the multi-instrumentalist Jonny Greenwood. Then the band works together to find the right arrangement, a process that can be tortuous. “Videotape” underwent, Yorke jokes, hundreds of versions before finding the right minimalist sound.

“We still sometimes get overawed by the songs,” said Greenwood. “We’ll get very attached to a song as an idea in its very basic form, but we also know we can’t really leave it like that. So that’s what we spend our time talking about and planning and thinking about. Thom will sit and play ‘Pyramid Song’ on piano, for example, and it’s obviously not finished. It needs a rhythm to propel it along. But what do you do with it and yet not mess it up? So that’s the sort of enjoyable pressure we like to be under.”

Though the method of release overshadowed the music of “In Rainbows” somewhat, it’s been almost universally hailed as a masterpiece. Yorke has been quoted as calling it “our classic album, our ‘Transformer,’ our ‘Revolver,’ our ‘Hunky Dory’ ” — a statement he said is a misquote: “I do talk some … but I didn’t say that.”

His point, he said, is that they strove to make a similarly concise work as those albums.

Read the rest….
(thanks to Alex)