And in context, the song feels more connected to the band’s material on 1995’s The Bends than the atmosphere of OK Computer, but that can also be said of most of the b-sides of the era. The shimmering guitar riff of “Lull” simply feels like an album opener. So here’s how our Radiohead OK Computer 2.0 alternate tracklist looks. Unlike most editions of this column, this actually isn’t built from an existing tracklist, but made into one from bits and pieces the band didn’t see fit to include on OK Computer for one reason or another. So let’s see what an entirely different version of Radiohead might release as their third album. But these are still excellent songs, an endlessly replayable counterpoint to the too-serious version of Radiohead that are more about art than writing some fun songs. None of this sounds all that much like the band who, consensus would dictate, released the best album of the ’90s. “Man of War” even pays homage to the music of James Bond-they even submitted the track for consideration in recent Bond entry Spectre, before writing a new song entirely for it (and then losing out to Sam Smith after all that). “Palo Alto” is the Britpoppiest thing they ever did. “Lift” is a fairly conventional, mainstream alternative rock song.

The b-sides released during the OK Computer era and the outtakes on last year’s OKNotOK reissue sound more like they belong to the Radiohead of The Bends. And, more fascinatingly, it depicts what sounds a lot like an entirely different band. For one, this isn’t going to be anywhere near as ambitious or transcendent as the original album. Doing so requires an acknowledgement of a couple of facts. Today, we celebrate one of the greatest albums of all-time by making a counterpart record: We’re turning the b-sides from Radiohead’s OK Computer into an entirely new album. Do you know what makes it endurable? The tambourine, which taps its way through the take with relentless precision.īest Yorke lyric that captures the spirit of spending so much energy on this leak: “I’m not living / I’m just killing time,” he sings on “MD111” at 17:22.Welcome back to Remake/Remodel, the column where one of Treble’s editors or contributors takes a classic-if imperfect, to our ears-album, and proposes an alternate tracklist in an effort to provide a different, albeit highly enjoyable listening experience. Most inspired use of a tambourine: The slow, extended take on “Let Down” arrives at 24:30 of “MD119” and runs for over 10 minutes. In another, more horrifying universe, Yorke’s “Funky Clothes” lyric, coupled with this beat, could have been a major funk-rock reinvention for the band.įirst hint that Yorke understands what we’re going through: On “MD116” at 10:18, he sings of the dire toll that awaits listeners willing to endure 17 hours of rehearsals: “Oh, no - I’ve lost all feeling in my head and in my heart.”īest stoner jam: The space rocker on “MD115” extends for eight minutes and is built around a keyboard-activated vocal sample that moves through the piece with psychedelic flourish. and Rakim’s “Paid in Full” as he lays down a classic hip-hop beat.

On “MD120” at 5:55, Radiohead drummer Phil Selway might be channeling Eric B. Adding a cuss, he continues, “If I take the check and start to talk.”īest breakbeat: Yorke may be proud of his funky outfit - it really does look great - but he should be equally proud that his band declined to explore rave rock in these 1996 rehearsals. “Knock me out - smash out my brains,” he sings with urgency. He seems to walk away, and after moments of gusting wind, Yorke’s voice moves into the center. Wind hits the microphone, texturing the tape with whooshes.

Best field recording: The opening minutes of the final minidisc (“MD128”) occur outdoors, and by the sound of it we could be on Mount Everest.

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