Totally agree on Primary, it really suffers if it isn't played at a fast tempo. The hills are alive is a bob nod towards his ambition to play Maria in the west end.
Nothing wrong with changing the key ,.... But for the audience, the songs sound normal and they wouldn't know that they are in a slightly lower key.
There's a noticeable difference in tone between standard and Eb, you pointed out the the FIIL studio take being shifted up a shade - that would sound dreadful if you shifted it down to Eb. More like It's Friday and I Hate Everyone
can’t help it, generally i like his alterations, especially in lyrics. always loved when for wciby or faith he just changed or added what was going on through his mind. it makes that evening unique and special. the live moment that won’t be repeated.
with melodies i had my hang ups with a night like this and disintegration in 2016 but after having seen or heard both songs this summer i totally love them how they are performed now. it is different and it is good, we all change.
i miss the sound of the prayer tours and all, but these things can’t be repeated. i feel the nostalgia of that time and wish i could go back in timf, yet how the group plays together now and how robert performs the songs, be it singing, speaking or even signing.. it feels real and authentic, no act or parody. how cool is that after so many decades and how few are able to achieve that?
may it sometimes sound wrong, silly or out of tune, just grateful for being able of seeing some of it live and in realtime, feeling the here and now and specialness of the moment.
Nothing wrong with changing the key ,.... But for the audience, the songs sound normal and they wouldn't know that they are in a slightly lower key.
There's a noticeable difference in tone between standard and Eb, you pointed out the the FIIL studio take being shifted up a shade - that would sound dreadful if you shifted it down to Eb. More like It's Friday and I Hate Everyone
I believe Friday is sped up post recording, not pitched up during recording.
If you have a lead on Brisbane 21 August 1992 - CT version, for the love of Bob, let me know. Please!
There's a noticeable difference in tone between standard and Eb, you pointed out the the FIIL studio take being shifted up a shade - that would sound dreadful if you shifted it down to Eb. More like It's Friday and I Hate Everyone
I believe Friday is sped up post recording, not pitched up during recording.
Yep - Radiohead's video tape is another example of post-tinkering which shifts it between natural keys.
... as is their No Surprises, which became apparent with the release of their OK Computer early versions minidiscs.
Haven't got round to them yet... 18 hours is a lot to digest!
Is it? I always thought it was D maj up the top of the neck (grade 3, theory only ) but have never actually played along to it
i am not a musician myself, but the 'late mix' at 'original recorded speed' on disc 15 is definitely slower and lower in key whilst otherwise nearly identical. however, i read there may be more to it:
For the song No Surprises, about the malaise of modern life, Radiohead wanted a tempo that was too slow to be played well on their instruments. Godrich solved the problem by borrowing a trick from George Martin's beloved production of the Beatles' Strawberry Fields Forever. He had the band play the song at a faster, more feasible pace, and then — odd pitch be damned — slowed playback to a crawl for Yorke to sing his vocals overtop. The sum is ethereal and haunting: the guitars sound like harps; each pound of Phil Selway's drums sticks in the ear a micro-second longer than expected.
Haven't got round to them yet... 18 hours is a lot to digest!
Is it? I always thought it was D maj up the top of the neck (grade 3, theory only ) but have never actually played along to it
i am not a musician myself, but the 'late mix' at 'original recorded speed' on disc 15 is definitely slower and lower in key whilst otherwise nearly identical. however, i read there may be more to it:
For the song No Surprises, about the malaise of modern life, Radiohead wanted a tempo that was too slow to be played well on their instruments. Godrich solved the problem by borrowing a trick from George Martin's beloved production of the Beatles' Strawberry Fields Forever. He had the band play the song at a faster, more feasible pace, and then — odd pitch be damned — slowed playback to a crawl for Yorke to sing his vocals overtop. The sum is ethereal and haunting: the guitars sound like harps; each pound of Phil Selway's drums sticks in the ear a micro-second longer than expected.