The Top 60 Radiohead Songs
I’ve listened to a lot of Radiohead. In the course of that listening, I’ve developed strong opinions about Radiohead — opinions so strong that they can only be expressed in a 5000-word long Medium article. This, if you haven’t caught on, is that article. And here are the scientifically-determined (by me and my sciences) Top 60 Radiohead Songs:
60. The National Anthem
A lot of people think this is one of Radiohead’s greatest songs ever. I disagree. I don’t dislike it, obviously, but after many many listens to Kid A, I still don’t think it’s that great comparatively to the rest of the album and the rest of the band’s discography below. It has a hell of a base riff and I like going off into insane discordant horns as much as anyone, but it still doesn’t push off the 60 spot.
59. Identikit
If heartbreak was a jungle, this song would be the half-mad explorer, machete in hand, chopping his way through the weeds. And then it starts raining from all the broken hearts and the explorer just sits down and cries. So that’s my explanation of it. It’s very good.
58. A Punchup at a Wedding
This song comes right after the fade out of “I Will” and the opening lines establish a real groove. The bassline/rhythm section of this song is primo. As far as the lyrics go — it’s clear that Thom Yorke doesn’t take criticism lightly. The band got a snarky review for their big 2001 show at Oxford, in which the reviewer made fun of the audience and the review permanently messed up the show in Thom’s mind (“No no no no no no no no no”). Big fan of the “you had to piss on our parade” line.
57. Optimistic
Most people wouldn’t associate optimism with Radiohead, but it’s always there (except for Street Spirits). No matter how dark it gets there’s always the slightest touch of hope and uplift at some point. Maybe some redeeming factor to pull us through the dreariness and muck, even if that’s just a flutter of a harp, or a brief crescendo in the strings. Optimistic takes that little glimmer of hope and expands it far beyond most Radiohead songs into the glimmering chorus “You can try the best you can. The best you can is good enough.” This was one of the most popular tracks off Kid A when it first came out — maybe all people really want is for Thom Yorke to sit them down and just tell them it’s going be ok, my child.
56. Where I End and You Begin
The best part of this song is the last fifteen seconds, where Yorke’s slurred vocals go from somewhat hard to hear through the driving bassline to completely clear and enunciated over no musical backing and you realize that he’s singing “I will eat you alive” over and over. As Jonny Greenwood said in an interview with Yorke, “It’s another love song, isn’t it? You old soppy.”
55. 15 Step
The band made a video edit of the final scene from Se7en, except it’s Thom’s head in the box instead of Gwyneth Paltrow’s, and he’s singing this song. So that’s just delightful. Beyond that, 15 Step is a great opening track that introduces the new In Rainbows sound that the band slaved over to create. It’s also statistically supposed to be the most upbeat and/or least sad Radiohead song, according to one musical researcher, which I don’t buy considering that the lyrics are about the fifteen steps across the gallows pre-hanging.
54. Scatterbrain
This penultimate stop before the ending of Hail to the Thief offers a melody electronic line and typically enigmatic lyrics. In the words of Thom Yorke himself, “It’s a really, really difficult song to describe.” So I’ll leave it at that.
53. Thinking About You
A pleasant little song, one of the better on Pablo Honey, and also reportedly a favorite of Jonny Greenwood’s mother, despite the unfortunate masturbatory lyrics. It doesn’t have that much going on, and I’m probably out of line ranking it this high, but it’s my list, and you can’t stop me. I firmly believe this song portends a gentler non-furious grunge side of Radiohead that would come out in later albums.
52. Glass Eyes
This song feels like Jonny Greenwood wanted to compose a tragic little concerto, and Thom showed up to sing some sad cryptic lyrics about loss and pain over it. It’s a short, minor interlude in A Moon-Shaped Pool, but a very memorable and heart-wrenching one.
51. I Might Be Wrong
A surprisingly hard-rocking song in the middle of a moody album. This riff is one of the best Radiohead has ever done, and the song works just on that riff’s aggressive strength. Thom’s lyrics modulate from right in the muck to soaring overhead (“have ourselves a good time / it’s nothing at all). They named their live album after this song, so you know they like it (which isn’t always a given with Radiohead).
50. Fitter Happier
A true banger. I think of this little nightmare of a song as the heart and soul of OK Computer. I’d probably put it higher on the list if it was anything more than a robot voice talking over a scary piano and industrial noise. Story time: the first time I heard this song was on the commute to my 9 to 5 job, which is a really great way to break yourself into a thousand despairing pieces.
49. We Suck Young Blood
Yorke said this song wasn’t meant to be taken seriously, but I sure do take it seriously. I think it’s great with its creepy off-rhythm claps and morbid dirge lyrics, even that wild little insane jazz in the middle. It was also determined to be the second-saddest Radiohead song according to a statistical/musical analysis. Want to know what #1 is? Keep reading.
48. In Limbo
A psychedelic trip in the middle of Kid A. While the rest of the album is eerie and menacing, there’s something pleasant and soothing about this song. Perhaps it’s the feeling of limbo, not quite happy enough for heaven but still free from the pain of hell. Anyway, it’s a nice song. Stay cheery, Radiohead fans.
47. Go to Sleep
The acoustic strumming is a nice switch of pace in the middle of Hail to the Thief, and a rare sort of folk feel that we wouldn’t get again until Desert Island Disc. Thom sticks to the political themes of the album with his “we don’t want the loonies taking over” line, as one can only expect. And if you’ve ever desperately wanted to see a CGI Thom Yorke singing, then the music video for this song is the place to go.
46. Burn the Witch
This song reminds me that Thom Yorke wanted to open In Rainbows with Videotape but knew that everyone would stop listening if that was the first song. This leads me to believe that he really wanted to open A Moon-Shaped Pool with the second track, Daydreaming, the one that opens most of their recent live sets, but knew that the menacing up-tempo Burn the Witch would get people moving better, and it’s true. It’s a solid little paranoid tune.
45. Sit down. Stand up.
Most of this track was recorded in one take on the first week of working on the album. Which is wild. This song loses its mind halfway through and was receiving a great response at live shows before they set out recording it, so they weren’t sure if they could capture that energy in the studio. Thom admitted that he repeated “the raindrops” about a million times at the ending because it sounded cool, not for any particular lyrical reason. I accept this and support it, because it indeed does sound very cool.
44. Faust Arp
Those Jonny Greenwood strings man. They’re the real star of this beautiful little interlude, which has Yorke singing cryptically about the “dead from the neck up” numbing pointlessness of the routine, safe life, as he often does. The whole thing is lifted into the pantheon of 2007 greatness that is In Rainbows, while also bridging that gap between the all-star level tracks, All I Need and Reckoner.
43. High and Dry
Radiohead brings the best of its 90s style to this. Apparently they hate performing this live much like Creep, which is understandable considering how much they’ve improved their sound since, but this is still a great tune. It’s the best of its genre and is a pit of nostalgia for that angsty decade.
42. I Will
A short, haunting song that Yorke says is the angriest song he’s ever written. It’s about the experience of seeing a bunker bombing during the Gulf War in which children died, and then resolving to fight rather than let this happen to his own newly-born children. Despite this aggression in the songwriting process, it’s a beautiful slow song with that scary last line “Little babies eyes” repeated.
41. Weird Fishes / Arpeggi
This song sounds so pleasant, and then Thom Yorke gets eaten by weird fishes, and I don’t know how to feel. Like Fake Plastic Trees and many other examples, Yorke digs into the heart of “love” and finds nothing there. None of the emotions are real. There is nothing, except the fact that “everybody leaves if they get a chance.” And again like Fake Plastic Trees, he is ready to run, but instead of “blow[ing] through the ceiling” this time he is going to “hit the bottom and escape.” The painful emptiness at the heart of this track belies the beautiful orchestration and makes it a enigma of a song.
40. Sail to the Moon
If this song sounds like a lullaby to you that’s because it’s a lullaby. Yorke wrote is for his son — “Maybe you’ll be president / and know right from wrong / or in the flood you’ll build an ark / and sail us to the moon.” Sweet. And also kind of scary, seeing as he’s predicting the downfall of civilization which his son will have to deal with. He wrote it in five minutes and said it was a pretty simple incomplete song that ended up being maybe the best song on the album after Jonny and the boys got through with it.
39. You and Whose Army?
This song feels a little unfinished, but it still carries the dramatic and atmospheric weight placed on it. Thom’s taunting chant over sparse backing works really well and the final crescendo indicates a bloody end for You and/or Your Army. Denis Villeneuve also used this song in the opening of Incendies, which is a great film and therefore deserves a diverting mention.
38. Ful Stop
Here’s the aggressive self-incriminating side of the heartbreak and loss of A Moon-Shaped Pool. This song builds with that classic Radiohead menace. After a minute of crescendo over a deep driving bass line, it culminates around Yorke’s repeated “the truth will mess you up” over a wailing “all the good times” line that comes out like a vocal tornado.
37. Lotus Flower
We all know and love(?) the music video with ol’ Thom wriggling around in his hat like the wild little fish he is, but the song also deserves some credit. It’s a dark jamming beat, a great chorus, and one of the bright spots on the otherwise-disappointing The King of Limbs.
36. Myxomatosis
Thom Yorke introduced this song at a 2016 show by snarling, “This dirty little fucker’s called Myxomatosis.” Sounds about right to me. That opening riff is crunchy, my dudes. Crunnnnnnchy. And it just gets crunchier. It moves with the energy of rabbits swelling up and going insane with diseased brains, per the title.
35. Airbag
A hard opening to Radiohead’s legendary OK Computer. It combines the hard guitars and rock of 90s Radiohead with the soaring chorus and the first glimpses of the experimentation that would continue to drive the band. Nigel Godrich, Radiohead producer and unofficial sixth member of the band, pushed them to create a weird not-stereotypically rock band drum beat — ”we just did three takes of him just like doing all sorts of shit to it and we put it all in.” Also, Thom Yorke actually did survive a car crash because of an airbag, so the terror and resurrection here are very real.
34. Decks Dark
“And in your life, there comes a darkness” is one of Yorke’s best lines. This song has an infectious drumline, the evocative imagery of a space invasion, and the eventual descent in the last lines “So you’ve had enough of me.” A Moon-Shaped pool incorporates the entire emotional spectrum caused by a breakup, and this song brings the dread, the sense of the world being turned upside-down, and the determined anger.
33. 4 Minute Warning
This is the only song on this list that isn’t from a studio album. The last track of In Rainbows Disc 2 deserves its spot here, because it is a musical blessing bestowed on us unworthy children. The gentle acceptance as the warning of nuclear holocaust echoes across the baseline hits close to home. I’m gonna get “This is just a nightmare, soon I’m gonna wake up” tattooed across my back.
32. My Iron Lung
Radiohead’s big middle finger to “Creep” and everyone who was forcing them to play it at every live show until they died. “This *furious guitar smash* / This is our new song / Just like the last one / A total waste of time / My iron lung.” They were running out of patience with the song that launched them to stardom, so instead of complaining in a miserable slump they complained in a really good grunge song and they made OK Computer a few years later and then they never had to play “Creep” again, until they eventually felt like it circa 2016.
31. Paranoid Android
This might be criminally low on this list. I realize that. But I just don’t worship this song as much as some do. It’s a journey told from a misanthrope’s barstool, and it’s a great example of Radiohead’s humor, which a lot of people seem to think doesn’t exist. It rocks hard with some Ed O’Brien/Jonny Greenwood guitar play, and brings the best of hard-rocking Radiohead style. Also, it gets props for the use of Douglas Adams’ Marvin, one of the best fictional characters in the history of absurdist satirical science-fiction novels.
30. Knives Out
Some of the most straight up alarming lyrics in any Radiohead song. When you first hear, you’d probably just groove to the little samba action we have going on, and then realize you’re dancing to “So knives out / Catch the mouse / Don’t look down /Shove it in your mouth / If you’d been a dog / They would have drowned you at birth.” This is another example of beautiful orchestration and Yorke’s peerless falsetto covering up some terrifying creepy words — which makes it even better.
29. Jigsaw Falling Into Place
The first taste of In Rainbows given to the world, and it’s quite the taste let me tell ya. This single takes on a surprisingly conventional song topic — picking up a girl at a bar — but Yorke brings that Radiohead touch to it, such as “before you’re comatose” and “words are a sawed-off shotgun.” Just like the music video, in which each band member has a disorienting go-pro pointed at their face from a few inches away, the song encapsulates the growing intoxication and overwhelming effervescence of heavy drinking and the potential for gross, likely deeply regrettable actions. The last minute, when the aforementioned jigsaw falls into the aforementioned place, is one of the greatest moments in any song on this list.
28. Climbing Up the Walls
This is the first time Jonny Greenwood really got to compose his crazy little heart out for Radiohead. That final string orchestra is his masterful creation, and really drives home this anxious obsessed song. According to orchestra members who worked with him initially, he was known to write parts that could barely be played, and those snooty classical folks looked down on it, until it turned into greatness and Jonny became known as one of the best soundtrack composers working today. Another win for Radiohead.
27. There, There
Those opening chords really get the blood pumping. Anthemic and full-throated, a lot of people who aren’t me would say this is the best track on A Hail To The Thief — but I will say it is a heck of a tune. It also includes one of the best simple one-line Radiohead choruses “Just ’cause you feel it, doesn’t mean it’s there.”
26. Present Tense
In an interview, Jonny Greenwood said that the band risked embarrassing themselves in recording A Moon-Shaped Pool, partly because they were experimenting with carribean-type jazz for some songs. Present Tense delivers that sort of groove, and it is far from embarrassing. It’s feels strangely upbeat, despite the notably downbeat lyrics, and as a bonus, Paul Thomas Anderson directed a little Thom and Jonny live performance that’s an absolute gem.
25. Packt Like Sardines in a Crushd Tin Box
This opening to Amnesiac is one of the best tracks off the album. Philip Selway banging away on some pans, Thom singing about disillusionment and the entrapment of society, weird electronic stuff — it’s got everything you want. The “I’m a reasonable man get off my case” repetition really puts you in a trance. This is a great song to listen to on the drive to your job, as you realize that you’ve compromised any hope of a meaningful life for a pointless and false sense of security.
24. Black Star
This is an underrated tune from The Bends. It tells the emotional story of someone watching their significant other unravel and consequently taking on that emotional burden. Eventually leaving the significant other, the narrator is left thinking of nothing at all on the train home, realizing that, alone now, they are falling apart, just like the one they left. Musically, it has a very 90s alt-rock feel, delivered with Radiohead’s impeccable Bends-era ability.
23. Codex
The King of Limbs was a let down (like the song, except not good). But this track rose above the rest of the album. Codex has a Pyramid Song feel and evokes an almost moodier glide through a dark soundscape. The best part of this song is that abruptly cut off opening vocal note in the first few seconds.
22. Let Down
Let Down is one of many songs about that titular concept — “Nude” and “Packt Like Sardines” being other notable examples. Thom Yorke really delves into the disillusionment that comes with a couple decades on this earth. It’s well-trod lyrical field for the band. This song is also a touchstone for music, as many bands subsequently employed very similar styles. It’s one of the peaks of Radiohead’s OK Computer-era style.
21. Creep
Here it is. What more can be said about “Creep?” Despite the self-hatred and the mockery of pretentious fans, this is a damn fine song and one of the best (if not the best) grunge anthems ever recorded. If you want a glimpse of the song’s power, just watch a video of Radiohead performing it in 2016 in Paris after years of refusing to perform the song live. The crowd’s response after the opening chord says it all.
20. 2 + 2 = 5
The opening distortion, like an electric guitar plugging into an amp, is the perfect sound to kick off Hail to the Thief, an aggressive return to sort of rock music, after Kid A and Amnesiac introduced the new scary sad electronic Radiohead. The opening guitar line sets the feel for the track, growing slowly with the Orwell allusions and political aspersions of the album, until that abrupt and insanely energizing escalation halfway through, paving the way for the rest of the world-weary, furious album.
19. Reckoner
Christmas 2018. Las Vegas. Thom Yorke is on a solo tour. He starts an interesting electronic looping beat on stage, not immediately recognizable as one of his solo tracks. Then he starts singing “Silent Night.” As you might expect, it’s amazing, seeing as he has the voice of a black-eyed angel, but what’s even better is that just as he faded out on the “all is calm all is bright,” the beat transitions and he starts singing “Reckoner,” one of the many stand-outs on In Rainbows. Jonny Greenwood has said that by the time they were nearly done with the song, they had spent so much time with it they no longer could tell if it was any good or just some weird crap, but yeah, it is very good. One of the band’s more upbeat tracks, Reckoner has Philip Selway going all out on the drumkit and Colin Greenwood rocking the bass. The band clicks perfectly, and this song serves as a template for the kind of lighter guitar, pop-drum sound they achieved on the album.
18. Karma Police
After “Creep,” this is one of Radiohead’s most popular, accessible tracks. The concept sounds like something from a children’s book — the karma police’ll come to get you if you steal a cookie — but obviously, Radiohead makes it menacing and sad — ”this is what you’ll get when you mess with love.” The bridge is one of Radiohead’s best moments with “For a minute there, I lost myself” rising up above the chords, a reflective look back at “love” from a remove, out of the jungle. It’s also remarkably cool when they play it live and the whole crowd does the ghostly affectless “this is what you’ll get”s together.
17. Everything in its Right Place
Those opening notes drop you straight into the mountainous barren dreamworld of Kid A. Like those guitars you heard on OK Computer? Well how about these synth noises and no drums and Thom Yorke’s weird vocals all chopped up and backtracked. It’s like a dare the band made with themselves. Let’s see if anyone’ll listen after we immediately show that we are doing something completely different. Turns out we did.
16. Lucky
It’s gonna be a glorious album. This song was one of the first tracks recorded in the kicking off of OK Computer, and its sets the tone. Dark, with Jonny’s orchestral arrangements taking a new front seat, the song has the narrator surviving a plane crash, ready to go on to a new life. Yorke has said that the “Sarah” he asks to kill him is no one specific, that he just likes the name Sarah. So that’s not fascinating, but musically this song is a killer.
15. A Wolf at the Door
Thom Yorke borderline-raps the verses here, and it’s 10/10 cool. I’d like to see him bust out this guttural style more often, honestly. It works perfectly as a cynical capstone to Radiohead’s most fed-up album.
14. Life in a Glasshouse
Humphrey Lyttelton, legendary jazz man, was brought in to liven this album-closer up. Ol’ Humph and his band did their magic, brought in the swelling horns and jazzy swing and created a weird, amazing insane ballad of lost privacy and growing paranoia. Each chorus hits with the full force of the band, like some demented New Orleans parade led by Thom Yorke in a steampunk suit, while Ed O’Brien flies a whale-blubber powered blimp overhead. Personal favorite lyrical moment: you can’t tell for sure whether he says “Sit and chew the fat” or “Stare into the fire” during the chorus, so maybe it’s both wanting to relax and talk and wanting to retreat into isolation.
13. How to Disappear Completely
During the OK Computer tour, Thom Yorke was not doing great. The massive attention and acclaim was too much. He was tired of guitar music, didn’t know what he wanted to do next, was tired of journalists, and was overwhelmed by the shows and the fans and everything. For reference, watch “Meeting People is Easy,” a documentary about the tour which plays like an industrial art-house horror film. Yorke was advised that when he was on stage, at risk of falling apart staring at this massive surging crowd, that he should just say “I’m not here. This isn’t happening” to himself — separate, disassociate, and be free. Being Thom Yorke, he turned that into this song, which in a later interview he called “the most beautiful thing we have ever done.”
12. No Surprises
A British television host once called this song “music to slit your wrists to.” Fair, I guess, although it’s nowhere near as sad as some of the other entries on this list. The song is especially notable for the music video in which Thom Yorke holds his breath in a water-filled helmet for a remarkably long time and then gives the cheekiest smile you’ve ever seen after the water is drained. But beyond the video, it’s a perfect summation of the OK Computer era, has one of the cleanest opening guitar riffs you’ll ever hear, and gets to the heart of the fear that lies behind a boring middle-class existence — no alarms and no surprises.
11. True Love Waits
Remember when I teased the #1 statistically-determined saddest Radiohead song a while back? Well here we are. And I think that #1 saddest is pretty well-deserved. When Radiohead first performed the song back in the OK Computer years and recorded on the live album I Might Be Wrong, the refrain of “just don’t leave” wasn’t quite as crushingly sad as twenty or so years later after Yorke’s 23-year marriage ended. But now this song is an absolute soul-crusher.
10. Nude
I was pretty surprised to learn that this was Radiohead’s second Top 40 hit after “Creep” and was the first Radiohead song to reach the Pop 100. It’s an amazing song, but the lyrics don’t exactly scream “pop hit.” The light guitar and rising arrangement provide a transcendent backdrop for the dreary resigned message “Don’t get any big ideas. They’re not gonna happen.” Radiohead took years trying to create the studio version of this song, and although the effort took its toll, it paid off dividends.
9. Fake Plastic Trees
The peak of The Bends. Arguably the peak of the entire 90s alternative rock genre of music. Yorke delivers a youthful reckoning with the plasticity of society and love, the disillusionment and pain that comes with realizing he can’t find something real, and when he thinks maybe he finally has he just wants to escape. The song established a frequent musical formula for Radiohead — the gradual build and release up until a massive climactic shock (to be seen in the years to come in Exit Music, 2 + 2 =5, etc.). Jonny Greenwood delivers some top-notch work on the electric guitar. To quote Thom Yorke just before a 2016 performance of this song, “Here’s another cheery fucker.”
8. Daydreaming
Radiohead opened many of its A Moon-Shaped Pool-era live shows with this song, and it’s easy to figure out why. The hypnotic opening piano is distinctive and sad, as though you’re sinking into the album’s heartbreak. Jonny Greenwood’s orchestration is at top form throughout and every line of Yorke’s lyrics layers on the sad sauce, especially the back-tracked ending “Half of my life.” Also worth noting: the Paul Thomas Anderson-directed music video is a killer — the best Radiohead video after the legendary No Surprises.
7. Pyramid Song
I think this is Jonny Greenwood’s favorite Radiohead song. Just my theory. He mentions it in interviews a lot — including as an example of when criticism doesn’t bother him, because he knows the song is good. And he’s right — this song’s like gliding down a black river straight into the afterlife. It’s inventive and strange and hypnotic and almost impossible to evoke in prose, so I’ll just leave this one to the black-eyed angels.
6. Videotape
A real tear-jerker to say the least. First off, I’d like to stake my claim that this is better than the Bonnaroo version. That’s why they put it on the album. Yorke has said that there’s something musically amazing at the chore of this song, his favorite off of In Rainbows. As Vox talked about in a video essay, the piano chords are actually syncopated and the real tempo of the song is much much faster than it appears. Colin Greenwood always shimmies his shoulders back and forth to the actual tempo during live performances, if you want to see a visual representation of this. The lyrics about a man recording his goodbyes are only made the more poignant by the looping drum machine, the sound of a video machine running out of tape.
5. Exit Music (For a Film)
The greatest drop in the whole Radiohead discography. “NOW WE ARE ONE IN EEEEEEVERLAAAASTTTIIIINNNNG PEEEEAAAAACCCCEEE.” Woo. Goodness. Gets me every time. The buildup is unbelievable and evocative. They recorded portions of the song in a stairwell just to get to echoing reverberation right, and it shows. The opening strum, the slow escape, the desperate “keep breathing” all build up to the best song on Ok Computer.
4. Street Spirit (Fade Out)
Thom Yorke says this song wrote itself — that they were only its “biological catalysts,” which sounds undeniably pretentious and goofy, until you really listen to the song. The dark opening chords give way to abstract and possibly even darker lyrics implying a nihilistic hopeless fade out after a slow meaningless life. As Yorke said, “All of our saddest songs have somewhere in them at least a glimmer of resolve — ‘Street Spirit’ has no resolve. It is the dark tunnel without the light at the end.” And boy do I enjoy it.
3. Idioteque
A little loop of repeating electronica opens this and things get really amazing as a crescendoing high-pitched synth plays over the top of the beat. Yorke’s apocalyptic lyrics, likely about climate change/environmental degradation, bring up the frantic feel of the song. It becomes infectious, the beat just building and building and then those “Here we’re allowed everything all of the time” choruses that make this the best track off the seminal Kid A.
2. All I Need
This track transcendentally grooves, my little homies. The lyrics about obsession (“I am a moth who just wants to share your light”) come off a little like a sequel to Creep with all the growth and self-understanding that comes with age (“I only stick with you because there are no others”). The slick production hits the highs and lows of Radiohead all in one song, with a hell of a climactic hit over the last minute.
1. Motion Picture Soundtrack
The best closing song to an album ever. This song might not make the top ten for a lot of Radiohead fans, but this list delivers that controversial content, so it’s a strong #1 here. It’s a remarkably sad song with a sudden final lift into the last line “I will see you in the next life.” A lot of amateur theorists argue that this marks a suicide, but Yorke himself has pretty much denied this (Q: “Does Kid A end with a suicide?” Thom: “No, ‘Motion Picture Soundtrack’ ends with little tweety angel noises.”) And by God are those little tweety angel noises beautiful. 10/10 song, 10/10 sadness, and never forget: they fed us on little white lies. That’s this list. So long.
