“Griffiths portrays a thorough, academic deconstruction….no small feat for a book of only approximately 120 pages….[Griffiths] also brings his vast familiarity with records of all genres past and present, which lends undeniable credibility to his insight.” ―Dan Weller, Times Leader 10/06/04
“Some will find it amusing that Griffiths, professor of music at Oxford Brookes University, compares the album’s lead-off track to ‘the cello part in a Brahms or Faure sonata.’ But given that a) the guys in Radiohead probably listen to Brahms and b) the guys and gals in Radiohead’s audience probably don’t, he’s actually performing a service….B+” ―Austin American-Statesman, Oct. 17, 2004
“Griffiths gives an interesting take on a band whose legacy hasn’t yet been chronicled into the canon.” ―Zack Adcock, The Hub Weekly, 1/13/05
Excerpt. © Reprinted by permission. All rights reserved.
But then Karma Police changes. After the second chorus the track lifts, in various ways. Harmonically, there s a key change of sorts (the sheet music charmingly follows the convention of preparing the reader for the new key signature), from E minor to B minor, although in truth both sections use similar chords. Then vocally or melodically, the key change takes Thom Yorke to his angelic register. Texturally, there s a big shift, with all the instruments doing lighter things. Best to my mind though, there s the one word, phew. Phew s great: it s a cartoon word, like gulp or zzzz or bah . Its precision matters, the fact that it s really there, properly pronounced, not just sort-of-breathed
Wow! eBook
