Radiohead's greatness not "greatest hits"

The inherent problem with composing a “Greatest Hits” album for Radiohead is the lack thereof.

The greatest hits concept has served several bands quite well: U2 apparently has hits for each decade, the Beatles have a whole twenty-seven-track album of number one hits, hell, even Phil Collins put together an album comprised of bewildering yet undeniable hits. But Radiohead?

“Creep,” the band’s only bona fide hit, not only causes them to stop mind song out of boredom but also induces a groan in any loyal fan—not because the song is necessarily bad, but it’s the only thing non-fans know.

Capital Records, unable to compile a “chart-based” list of hits, simply picked “good” songs. The problem with this method being Radiohead doesn’t necessarily have “bad” songs (filler tracks on Pablo Honey and errant B-sides aside, but who pays attention to those?), unless of course the songs aren’t really songs (Pulk/Pull Revolving Doors, Fitter Happier). Yes, they have songs that maybe don’t “work” as well as other, but none that are out and out awful.

What is more some of Radiohead’s more brilliant songs don’t work out of context, they can’t be divorced from their album. For example, “Hunting Bears” is basically not a song unless it is preceded by “Dollars and Cents” and immediately followed by “Life in a Glass House.” In context that song stops time.

So if one can’t go by top ten singles, nor can one just choose the songs that are good (perhaps even great) what is one to do? I tried to make an album of personal favorites but I hated myself for every song left out. So I decided to compile an album, however unconventional it may be, that demonstrates Radiohead’s “greatness” not their greatest hits.

1) Karma Police – Christopher O’Riley version

Sacrilege! Yes, I know, but bear with me. Arguably their greatest, or at least most enduring hit after “Creep,” this song demonstrates how Radiohead subverts melody and vocal conventions (his voice warbles out of tune!) while creating a song that takes no prisoners. The solo piano lays bare the genius of this song. This version makes one not only want to listen to the original but also listen to the four songs preceding and the six after.

2) The Bends – The Bends

One of the few stand-alone tracks they have produced. It has everything; frenetic energy, a perfect quiet-loud dynamic, vocals soaring through musical gaps and completely unintelligible lyrics. It shows that Radiohead is first and foremost a rock band.

3) Paranoid Android – Live

Any live version probably will do. Yorke works himself into a fury, Greenwood goes insane and the crowd takes over the vocals during the “Rain down” section—I get chills just thinking about it. On the album it is good, live it is a religious experience.

4) Nude – In Rainbows

I fought the urge to make this the cut-in-half “Meeting People is Easy” version but the crappiness of the recording ultimately prevented that. Everyone knew, and adored, this song but a good recording was hard to find. This version represents the fulfillment of many desires—it was worth the wait.

5) Idioteque – Kid A

Every Radiohead fan, upon first listen, looked up and said “what the fuck?” as the vaguely electronic, vaguely what-the-hell beat started up. But at about a minute-and-a-half in we all said, “This is fucking good!” It all but encapsulates Radiohead’s diversity.

6) Like Spinning Plates – I Might Be Wrong

The best moment during this recording is when the crowd catches on to what song Yorke is actually playing. There is this roar and then for the rest of the song utter silence. I saw this song live, no one moved after we all knew what was happening. Perhaps this song gives us insight into Radiohead’s writing process? It probably doesn’t.

7) Just – The Bends

Maybe it’s the naked anger in Yorke’s voice, maybe it’s Johnnie practically breaking his guitar to play this solo, maybe it’s the terrifying video. No “greatness” compilation would be complete without this song.

8) I Will (No Man’s Land) – Hail to the Thief

The harmonies make this song both scary and beautiful at the same time. Radiohead makes something glorious without almost nothing but what’s even better is that “almost nothing” means “Like Spinning Plates” played backwards.

9) Motion Picture Soundtrack – Pre-album version

Nothing is wrong with the album version (it’s a completely different song, really) but it could never go on a compilation album because of its somewhat irritating hidden track. However this version has a certain tenderness, a certain frailty that induces weeping. It also has the third verse, which is heartbreaking.

10) Blowout – Live and unplugged with Portishead

This lounge version of the song sounds like it’s being played at some private party toasting the approaching apocalypse. It shows how Radiohead songs are malleable and, in most any context, beautiful. Plus it’s got Portishead who is attributed with influencing Radiohead’s very name!