Bob Dylan’s “Blood on the Tracks”

Bob Dylan's "Blood on the Tracks" album cover This week, I’ve been listening to Bob Dylan’s 1975 album “Blood on the Tracks” to improve my craft as a songwriting musician. Each Bob Dylan album so far has been monstrously impressive from a songwriting perspective. His skill to employ metaphor within narrative songs that utilize rhyme is astounding. For me, this album is right up there with “Blonde on Blonde” and I can’t get enough of it now that I’ve spent a week with it.

Finger-picked blues guitar drives the track “Meet Me in the Morning.” At first, I didn’t care for this song due to its repetitive nature. A twelve bar blues progression (I-I-I-I-IV-IV-I-I-V-V-I-I) provides foundation upon which Dylan sings lyrics that follow the twelve-bar blues blues format of one line repeated twice, then a line in response. Like much of the album, the lyrics deal with a struggling relationship.

The first verse opens with the title “Meet me in the morning, 56 and Wabasha. Honey, we could be in Kansas by the time the snow begins to thaw.” I’m not sure why they are meeting to travel, except perhaps as a change of scenery or escape. The next verse tells how some say it’s darkest before the dawn, but the singer is always dark. But, when the morning rooster crows in the third verse, the singer feels mistreated by his lover. He feels persecuted and trapped, and wonders if the love was a curse. “Look at the sun sinking like a ship. Ain’t that just like my heart, babe, When you kissed my lips?”

I loved this catchy song by the end of the week. I like the layers of multiple guitars.  In the right channel , a bright acoustic guitar plays rhythm-lead lines. A fuzzy slide guitar soaked in reverb provides some atmosphere in the background. Another acoustic guitar quietly strums the chords. And yet clean electric guitar joins later to pick some lead lines and also gets in conversation with the fuzz guitar during the outro.

Also, I find it impossible to not sing along to the mellow grooving bassline.

On “Shelter From the Storm,” Dylan sings tenderly of a love lost. The jangly acoustic guitar dances nervously between the bass and vocals. We hear the sound of the pick and/or guitar strap ticking and rattling against the guitar. These additional sounds of guitar-playing unintentionally provide the only percussion. This type of natural imperfections lends a sense of authenticity to the recording. The chord progression throughout is a basic I-V-IV-I, with the melody providing a sense of variation through the verses.

These are some tremendous lyrics. The song is about confusion, loss, frustrations and heartache, but he’s telling it through the sweetness and tenderness. That’s how the song manages to be so powerful.  Rather than talking so much about pain and loss, he talk about promises and what was lost. However, it’s the middle verse that puts everything in perspective.

Now there’s a wall between us, something there’s been lost
I took too much for granted, I got my signals crossed
Just to think that it all began on an uneventful morn
Come in, she said, I’ll give you shelter from the storm

Of course, there’s layers of ambiguity here as other themes become part of the picture. Images of Christ come into play, which could embarrassingly make a martyr out of the speaker, but I prefer to avoid that interpretation.  It’s too mighty a structure of self-pity, and also would be too self-righteous in contrast to other statements in the song.

The brilliant “Tangled Up in Blue” opens the album and remained my favorite song the full week. I rather feel it’s too great of a song to be the first. The opening chords of A and Asus4 play in my head all day. The verses are in a I-VIIb-I-VIIb-I-VIIb-I twice, followed by V-vi-I-IV twice and ends with VIIb-IV-I for the refrain of “Tangled up in blue.”

The first half of each verse is sung in a restrained back-and-forth melody, with the pitch rising for the second half. The percussion and other instruments likewise pick up in energy. This is balanced by the lower-pitched chords of E and F#m. The the refrain anchors the verse back to the tonic on “blue.” It’s interesting the use of chords for this key. The chords are more likely those of a song in the key of G, while the melody is actually in key of A.

As with the whole album, the layering and interplay of instruments is fantastic. Multiple strummed and picked acoustic guitars provide a full atmosphere of sound. Still they are mixed in a way that manages to keep things feeling stripped down.

The lyrics are the most amazing part of the song. A week definitely provides too little time to fully appreciate all he has going on here. At the very basic level, I appreciate the narrative quality of the song. Songs that tell stories, especially about characters and their relationships, get my interest. I especially appreciate tales of that touched on and lost and over-arching tales that narrow in on details. This is especially made poignant by going back to a place while accentuating the distance.

So now I’m going back again,
I got to get to her somehow.
All the people we used to know
They’re an illusion to me now.
Some are mathematicians
Some are carpenter’s wives.
Don’t know how it all got started,
I don’t know what they’re doing with their lives.
But me, I’m still on the road
Heading for another joint
We always did feel the same,
We just saw it from a different point of view,
Tangled up in blue.

Pixies’ “Doolittle”

Pixies' Doolittle album cover This week, I’ve been listening to the Pixies‘ 1989 album “Doolittle.” My introduction to this alt-rock guitar band probably came through Nirvana and the Breeders. You can definitely hear that Nirvana influence coming from songs like “Tame.” “Doolittle” was nearly a decade old by the time I heard it. Though I know a few of the songs, this week was really my first time getting to know the whole album.

This Pixies album album sounds very 90s, even though it came out before music that typifies the 90s. At the time, it must’ve seemed so strange and new. It’s still unusual today, but definitely sounds dated. Just strange that it sounds dated to a time after it came out. That’s how influential it was.

I fell in love with “Monkey Gone to Heaven” the first time I heard it, whenever that was. The unusual start of the song caught my attention. A series of ascending chords drive out of nowhere, drums begin, then a hit from the bass as if this song is going to rock. Then.. a pause and the vocals calming state “There was a guy.” Instead of rocking, the collected and slightly menacing voice, tells us a story like recalling a legendary news item: “An underwater guy who controlled the sea got killed by ten million pounds of slugs from New York and New Jersey.” That’s the first verse: Nonsense that seems to make sense. The chorus consists of the line “This monkey’s gone to heaven” repeated four times.

“Here Comes Your Man” provides a great example of something I noticed throughout the album. The guitars often play monophonic surf-rock inspired lines. There’s not so much strumming of full chords as usually found in rock music. The album also features a lot more clean, or at least less distorted, guitar than I would’ve expected. When guitars are distorted or fuzzed, they are mixed further back than the clean guitars, providing more of a pad than a heavy drive.

The nearly instrumental “La La Love You” songs also features a lot of surf-rock style lead guitar. Again, this track opens with some rockin’ drums and then takes a mellow turn. It borders on instrumental cheese and surf rock. I love the bright clean electric with dripping reverb sound. The bass rolls along uninterestingly, which is actually in contrast to most of the album where the bass carries much of the instrumentation. The lyrics aren’t much, but that’s really the point. “All I’m sayin’ pretty baby, La la love you, don’t mean maybe.” is repeated several times as the song ends. In a way this song seems to represent much of what the undercurrent of the album: It’s an angular love-affair with rock n roll; it attacks what it loves.

Aretha Franklin’s “I Never Loved A Man The Way I Love You”

Album cover for Aretha Franklin's "I Never Loved A Man The Way I Love You"

I’ve been listening to Aretha Franklin’s 1967 album “I Never Loved a Man the Way I Love You” for lessons I can learn to improve my craft as a songwriting musician. Unfortunately, the world lost Aretha Franklin the day before I started my week with her album. This was an amazing album and I fell in love with several of the songs almost immediately. Unfortunately, I’ve been struck by a double ear infection that is sapping much of my energy; it’s difficult to concentrate to write as much as I usually do for these albums, but I’ll still talk a little about my favorite tracks. Her singing is tremendous and that remains true on every song.

“Soul Serenade” quickly became my favorite. I especially like the use of horns between the vocals in the chorus. They hit on the 3rd, 4th and 1st of the next measure. It makes that 1st beat feel like a 5th beat.

I also really liked the song “Do Right Woman – Do Right Man” particularly for the smooth extending of syllables during the chorus with backing vocals providing rhythmic repetition. The sparse accompaniment provides a good backing for Aretha’s voice on this slower track. The organ plays extended chords with the piano mostly tinkling occasionally on individual notes, and a basic drum pattern keeps the beat.

As I said this was an amazing album from start to finish. Definitely one that I will return to again and again in the future. I wish I felt better, so that I could do it more justice in writing. So instead, I’ll close with this great video of Aretha Franklin performing the opening track of this album, “Respect.”

Radiohead’s “Kid A”

This week, I’ve been listening to Radiohead’s album “Kid A” from 2000. When this album was released, I had just moved to Asheville a few months prior. “Pablo Honey” was one of my favorite albums and I really enjoyed “OK Computer.” I also liked the singles from “The Bends”. With each album, they were obviously evolving as an experimental band expanding the possibilities of the alt-rock genre. My first reaction to “Kid A” was one of disapproval. From my perspective, they’d gone off into the stratosphere, losing touch with rock music and the audience. It also got dangerously close to ambient music at times. In short, I did not like it.

About fifteen years later, I’m running into people who love this album. Some even consider it Radiohead’s best. So, I give it another chance.   I now heard a band casting aside the confines of rock to focus on what had made them unique before. It seems they were rebelling against what people said and expected from them. Perhaps, they finally completely rebelled against the brit-pop Nirvana labelled they’d inexplicably acquired in the early 90s. I never understood that description, but there’s definitely no way anybody could say that about “Kid A.” I still didn’t like it.

Three more years pass and here I’m spending a full week listening to “Kid A” because it’s considered by many to be one of the greatest albums of all time. After devoting all this time to it, I still don’t really like it much. However, some parts of it grew on my a little. Some parts wore on me a lot. Overall, I think the album suffers from too much repetition without enough variation. Each song has some cool stuff going on. However, even the cool stuff becomes boring when it goes on for too long.

BBC recording of “Everything In It’s Right Place” since the  album version is not available.

The “Everything In It’s Right Place” is one of the best tracks on the album. The few lyrics are oblique and opaque, which is true for most of the album. The lines capture a feeling of being overwhelmed and in a generally foul mood. Thom repeats lines several times, which makes them memorable and catchy. I almost don’t notice how little description the words give.

The chords follow an unusual pattern of I-II♭7-III♭6 for the intro, and then IV-I-II♭7-III♭6 for the verses. These strange series comes from playing a constant tonic note (C in this case) while playing triadic chords below it. I assume that the use of a constant C puts the song in the key of C, however, it feels like it may actually be in the key of F. The moments of the song that return to that IV chord FEEL like they are returning home to the tonic. This is not a conventionally way to work with chords in rock music and really sounds much more like jazz.

A fan-made video for “The National Anthem” by Radiohead.

“The National Anthem” grabs my interest with its cool driving bassline. Unfortunately, that bass continues without deviation until it is mind-numbingly monotonous. I think of Mancini’s bassline in “Peter Gunn” which holds up to repetition because so much musically interesting happens over top of it that the bassline becomes a groovy background texture. In “The National Anthem” the unchanging bass line stays to prominent; furthermore, the other instrumentation fails to pull the focus away.  I don’t like the chaotic brass free-for-all section. With its lack of musical substance, it’s just chaos. It sounds too much like an imitation of the sound of more avant-garde jazz without any direction or purpose. Rather than building on the bassline, they make stylistic noise in spite of it.  And again, that pulls my ear to the bass.

The vocals provide the most interesting element of the song. Or, more specifically, the processing of the vocals.  There seems to be a combination of doubling-up with a resonant synth, perhaps some ring-modulation, and altered reverb/delay. I’m not sure, but it does wonderful things to my ears.  Too bad the lyrics fail to provide much to the song.  All they gives us is “Everyone around here, everyone is so near. It’s holding on. Everyone is so near, Everyone has got the fear. It’s holding on.” That’s it. With this bassline and those horns, I feel that more story-telling is in order.

Live performance of “Optimistic” by Radiohead.

Probably my favorite track on “Kid A” was “Optimistic.” Again, the vocals repeat the same lyrics multiple times. The chorus has six lines, which are three lines repeated, the first two of which are the same: “You can try the best you can. You can try the best you can. The best you can is good enough.” It certainly helps the lyrics to be memorable.

I probably prefer this song because it’s a little more rocking than the others. The song features guitar. The clean guitar strums rhythmic chords like the Velvet Underground or Stereolab. Drums trip loosely across the toms, creating a somewhat exotic texture. Unfortunately, the song shares the quality of flatness with the rest of the tracks. From start to finish, there’s a feeling of samess due to the dreamy drift between sections and the lack of solid dynamics.

Overall, I didn’t think this was that great of an album. I appreciate it as serious shift transition from the old Radiohead to the new Radiohead, but I don’t know if I consider that a good thing. My tastes are more for the earlier Radiohead than what came after.

Stevie Wonder’s “Innervisions”

Stevie Wonder: Innervisions album coverThis week, I’ve been listening to Stevie Wonder’s 1973 album “Innervisions” for lessons I can learn to improve my craft as a songwriter. For years, my only real awareness of Stevie Wonder was his work in the 1980s. At eight years old, I saw his appearance on the Cosby Show. I watched it many times on VHS and used to sing the song “I Just Call To Say I Love You” throughout my childhood. By the time I hit my teens, I grew to find songs like this and “Ebony and Ivory” were just cheesy. I didn’t become aware of his fantastic 1970s work until fairly recently. Some of the stuff I had heard before without realizing who it was. I absolutely loved spending a week getting to know this album.

Wonder is an accomplished multi-instrumentalist and plays many of the instruments on the album. Every instruments on “Living for the City” is played by Stevie Wonder. Fender Rhodes electric piano opens the song spinning left-right through the stereo tremolo. As with much of the album, Wonder makes use of the legendary TONTO for fantastic synthesizer  sounds. Once the drums start, the kick hits on every quarter note through the verse and chorus, though changes for the bridge.

The chord progression is very simple for the verse: I – ii – I7 – ii, with the synth bass mostly bouncing on on the tonic every quarter note. The chorus rises through a IV-IV-V6-V7 progression. The da-da-da-da bridge contrast with the rest of the song by being in 3/4 time as borrowing a series of chords from outside of the key. The first chord of the bridge could be vi7♭5,  then to vi♭ to v♭ coming done to ii♭ back to I.

Though the music is funky with a definitely bouncing groove, it would feel rather laid back without the vocals. Wonder’s singing gives the track its energy. He sings the verses with a rhythm and a simple melody; it’s almost rapping. He also punctuates the rhythm with non-verbal grunts, pops and ‘hee’s;’ Michael Jackson undoubtedly drew influence from Stevie Wonder. The synth bass and electric piano may be the heart of the accompaniment, but the vocals are the drive.

One of my favorite tracks, “He’s Misstra Know-It-All” closes the album. Wonder provides all vocals and plays all instruments except the electric bass guitar. Acoustic piano plays chords throughout. The chord progressions runs I-I7-I6-iv6-I-V-IV for the verses and a bridge/chorus of ii-I-IV-V-vi7-V-I-ii7. This use of extended chords provides interesting movement while essentially staying in the same chord.

A different idea for me, that seems so natural in the song, is the use of multiple time signatures within the verses. The whole song is in 4/4 time with an exception at the end of each verse. Every verse has the refrain “He’s miistra Know-It-All” in 2/4 time.

I like the use of synthesizers to add little magical flourishes to the top end of the piano lines. Sometimes they are like soft sparkles drifting into the air.   At the half-way point, Stevie’s vocals pick up in energy and hand-claps increase the sense of energy. It also helps the song feel like it’s coming to a close.

Television’s “Marquee Moon”

This week, I’ve been discovering Television’s debut LP “Marquee Moon” from 1977. Somehow, this band has managed to escape my notice until now. It’s a shame it took this weekly project for me to learn about them. This album immediately became one of my favorites. Television played post-punk when punk rock was in its infancy.

Proto-punk generally favors shorter straight-forward songs with little-to-know instrumental sections; Television goes off into more complicated song structures that display some influence from The Who. A few moments would vaguely remind me of The Who’s 1973 album “Quadraphenia” which is also one of my favorites.

The album opens with “See No Evil” introducing the sound of the album. We have drums and electric bass guitar in the center. There are three guitar: one purely rhythm guitar in the left channel, a rhythm-lead in the right channel, and the solo lead in the center. The clean rhythm-lead guitar runs through a series of melodic picked riffs. I especially like the arpeggios in the chorus that continue even as the other instruments rhythmically pause. of New York City rock-n-roll lead vocals of Tom Verlaine grab the listeners attention much like those of New York contemporary Patti Smith. Television has a similar sound as Patti’s band on “Horses” and I love that raw dirty-clean guitar sound.

I love all of the songs on this album, which made it difficult to only choose a few to discuss. I’m skipping over the epic title track “Marquee Moon” mostly because it’d be so much to tackle. It’s the song that first made me think of “Quadraphenia” with the end of the song reminding me a lot of “Reign O’er Me.”

Guiding Light” really caught my attention. It stands out as being one of the slower songs, almost leaning towards a spiritual sound. The song starts with clean guitar arpeggios repeating a I-IV chord pattern. This is joined by bass and a piano beautifully accompanied by the echo of the room. The unusually long prechorus has two parts, the first in V-I chord progression and the second part II-IV. The chorus is a standard I-V progression, with the final I getting extra emphasis as a strong cadence. One thing I love about this song is the use of the natural room ambience and space between the instruments and notes. It’s a very natural sound.

The lyrics feature a nice mixture of poetic and straight-forward rock n roll. For example, I especially like the last two lines of the first verse of “Guiding Light”: “I hear the whispers I hear the shouts And though they never cry for help”. What does it mean? I’m not sure I could say. It’s not even really a complete sentence, but it feels. I saw the lyrics described as “impressionistic” and I’d say that’s correct, though I may be putting my own interpretation on what that person meant. You more feel the meaning of the lyrics than you could possibly getting out of them directly.

I fell in love with every song on this album. This one will get frequent listens from now on. I’m only disappointed it took me so long to actually hear it.

My Bloody Valentine’s “Loveless”

This past seven days, I’ve been listening to My Bloody Valentine’s album “Loveless” from 1991. I devote each week to a different album considered great in order to improve my own craft as a songwriting musician. It also introduces me to a lot of great music. This week was an unusual challenge. At first, I thought the album was awful. By the end of the week, I thought it was mostly awful. The blame does not fall on the songwriting. In fact, I find it difficult to speak about the songwriting at all. The recording and production choices stand as a major hurdle for me. The way they play their instruments did not help either.

This album drowns the listener in a lush warm fuzzy wall of sound. The use of reverb, including the weird reverse-reverb, gives instruments like the guitar an expansive atmosphere of depth. Or at least they would, except the sound is often flattened by emphasizing the production layer. This album often reminded me of an old cassette tape deck I had. The worn out belt would cause the playback speed to rise and fall. Parts also reminded me of another tape recorder on which the head wasn’t aligned quite right. When used to record music on a tape that already had something on it, you would get a mix of the new audio, the previous audio, as well as a little bit of the opposite side in reverse. All of these oddities brought focus to the medium of tape, which is flat. Much of “Loveless” sounds two dimensional to me in the same way.

Guitarist and principal artist of My Bloody Valentine, Kevin Shields, has a fascination with the whammy bar. He strums the guitar while applying pressure to the bar. This creates an effect where the guitar frequently undulates in and out of tune. Pushing this through layers of reverb provides the listener with a feeling of seasickness. It sounds cool, except that he’s doing it too much.  As a child, I dug the syncopated way my Speak-N-Spell said “apostrophe.”  I pushed the apostrophe button over and over again; It brought me joy while annoying everyone around me.

The guitar, the effects on the guitar, dominate the album. For most songs, the guitars shove the other instruments to the back. Drum loops rotate behind the wash of fuzzy reverb. Hints of bass guitar come and go. Sometimes something that sounds like keyboard overloading a toy speaker pushes between the blanket of guitar.

The songs also have vocals. I’ve heard them washed out by reverb and pushed well-beneath everything else. This is not true with all songs, but it seems to be the preference. The vocals sing in a quietly disinterested way, as if they are provided more out of obligation than desire. This expresses a cautious layer of self-conscious cool.  It almost works, but I would push the vocals more forward, give them some presence. They do have melodies and probably even lyrics, if you can manage to hear them.

The start of Only Shallow misleadingly implies a guitar-driven alt-rock album. As mentioned earlier, the focus on the album is more production and creating atmospheres of noise. While it can be argued that these are integral to the songs, I feel that the songs became reasons to create noise. This leads to soundscapes enjoyable in small doses. They wear tiresome long as whole songs.

Frequently, I would get whiffs of Stereolab, one of my favorite bands. The second track Loomer reminded me of Stereolab’s album Transient Random-Noise Bursts with Announcements like the song “Jenny Ondioline” which I love. My Bloody Valentine released “Loveless” two years before that Stereolab album. I may’ve liked My Bloody Valentine more if I’d heard them when I was in high school, instead of 25 years later.

Here Knows When” provides a strong example of the elements I don’t like about this album. I suspect fans of the band love this song for the same reasons. Imagine alternately recording Cocteau Twins, Jesus and Mary Chain, Stereolab on a worn out cassette tape with a cheap recorded and then recorded the sound of a motorcycle race over it. I really feel like this started as a good song.

For me, When You Sleep stands out as the best track. the song brought “Degrassi High into my mind for reasons I can’t understand. The use of a melodic instrument between verses and choruses helps tremendously. Vocal samples of ‘ooo’ played like a warped mellotron interact musically with the apparent synth. They’ve layered male and female vocals in a way that successfully brings the vocals forward, almost. I still don’t know what most of the lyrics, but I like what I’ve caught. I suspect an expression of awkward teen crush and bubblegum. Then it goes on too long, over-compressed and lacking variation.

Radiohead’s “OK Computer”

Radiohead "OK Computer" album coverThis week, I’ve been listening to Radiohead‘s 1997 album “OK Computer” to learn from as a songwriting musician. I remember when this album came out and I loved it immediately. This week served not as an introduction, but as an opportunity to re-examine the familiar for something new. As soon as I heard the open guitar line of “Airbag” I knew it was going to be a great week. I love this album. Unfortunately, that makes it difficult to listen to objectively and write about.

Guitarist/multi-instrumentalist Jonny Greenwood enjoys experimenting with the possibilities of his instruments. Effects pedals alter the sound of the guitar in unusual ways. He also incorporates a variety of unusual playing techniques. I remember being blown away the first time I saw the “Creep” music video. Jonny’s guitar stabs introduced the chorus. His manic strumming launched into a guitar solo that feels much more like he’s trying to save his life.

The song was innovative for Radiohead’s sonic character of their instruments, including vocals. The song itself borrows a lot from The Hollies’ “The Air That I Breathe” but the sound and performance are wholly unique. Today’s listeners often hear “Creep” as typical 90s alt-rock. Radiohead so quickly evolved far beyond their first album, it’s difficult to realize how strange it sounded when it first came out.

The second track “Paranoid Android” remains one of my favorite Radiohead songs. It opens with a latin-influenced rhythm including a clave and a gentle acoustic guitar playing broken chords. This suggests an atmosphere of elevator and dreams of a 1950s family vacation. Appropriate for the “Please could you stop the noise

I’m trying to get some rest” line. The second verse has the unfriendly, yet catchy, line “When I am king, you will be first against the wall.” After about two minutes, the music takes on a slightly sinister feel thanks to some rhythmic single low notes on the guitar. At 2:40, distorted electric guitar strike as Thom spits, “You don’t remember…” Jonny then plays a great, flourish-free, fuzz guitar solo panned full left. A mixture of time signatures add to the exotic other-worldly feel of the song. And then it moves into a mourning-choir section. Distorted guitars rip back into the song. The Rhythm guitar and drums play the ending rhythm, but the fuzzed out lead guitar soars into high notes drawing the song back into life before letting it end.

The great song “Karma Police” does interesting things with chords in their key. The first part of the song is in G major, then the outro is in B minor. The chord progression for the verses could be i-III-v-VII if in A minor, which would be great. However, being in G major, the chords actually follow an unusual ii-IV-v-I progression.

The chorus could be a I-II-V-IV#7 in the key of C major, which again would be great though weird. But, still in G major, the chorus is actually a IV-V-I-VII7. These unusual progressions are played simply on the piano with a strummed acoustic guitar adding texture to the background. Overall, the song has an ambivalent feeling of stability and fragility, marching and floating.

Thom lifts his voice up during the outro;  He sings, “Phew for a minute there, I lost myself.” This matches the peculiar contradiction of a minor key with a triumphant feeling. I love that combination. The opposite happens in the chorus where the chord progressions seem to go from A minor to C major, but the mood drops with an mildly threatening statement of purpose: “This is what you get when you mess with us.”

The blissfully perfect “No Surprises” remains one of my favorite songs. Sonically, it bears some resemblance to The Velvet Underground’s “Sunday Morning” from their debut album. With the slower tempo, use of glockenspiel and guitar over a bassline with little percussion and softly sung vocals. The two verses vollow a I-vi-ii-V-I-iv chord progression. The minor iv adds a sense of longing to the pull for resolution. I love this song. The sound is delightfully pleasant tinged with melancholy.

Throughout the album, obtuse lyrics build emotional images of anxiety and distress. I don’t want to make too much of the comparison, but it bears some relation to Pink Floyd’s “Dark Side of the Moon.” Both albums deal with the difficulty and burden of living in modern society.  With Radiohead, the lyrics are much more post-modern. At times, they’ve constructed lyrics from lists and yet others are collections of sentiments.  These are pulled together to create an overall sense of meaning, sort of like reading between the lines.

Overall, “OK Computer” continues to be one of my favorite albums. Radiohead make great use of inventive chord progressions. I also appreciate their attention to sonic detail, from use of effects to the choice of instruments. This is true, of course, with all bands. Yet, Radiohead seek out new ways to create strange auditory experiences. They thoughtfully combine these in meaningful ways that suit the songs.