ne pas a.v.a.l.e.r. : everyone / the national anthem

premier live

13 juin 2000, Arles

5:29

version originale

27 septembre 2000, Kid A

5:49

autres versions

octobre 2000, vidéo promo

début septembre 2000, live en studio à Londres

5:29

13 novembre 2001, I Might Be Wrong

28 mai 2001, Théâtre Romain, Vaison la Romaine

4:57

Cette chanson a été enregistrée juste après la fin de la tournée OK Computer, à Londres. Ce devait être une face B pour OK Computer, mais le groupe a décidé de l'inclure au quatrième album, parce qu'ils l'aiment beaucoup. Elle a été inaugurée à Arles le 13 juin 2000. Le NME a comparé la basse à celle de XTRMNTR de Primal Scream, et le chant de Thom à celui d'Elastica sur Line Up.

Radiohead l'a jouée 4 fois sur scène avec l'ensemble jazz : à New York les 11 et 14 octobre 2000, pour Canal + le 28 avril 2001 et pour la BBC le 9 juin 2001.

That was much more random. There's this record by Mingus called The Complete Town Hall Concert, it's on Blue Note. He did the whole record, and what Mingus was supposed to do was score out every part for an extremely large, almost double sized brass section -- it was almost an orchestra. But he didn't have time to write all the parts out, so he reverted back to what he often did with his normal band which was, 'play like the bluebirds flying,' because he didn't have time! When you listen to a lot of it, it's just fucking chaos, no one knows what's going on. But this is the only time he got to record it. His agent had booked the gig three weeks early without telling him and this audience didn't know what the fuck was going on -- they're clapping halfway through and it's pure chaos. Right at the end of the record the curtains get pulled across and the band refuse to stop playing. So they break into this impromptu thing, and half of them are playing one thing and half another and the audience are clapping and some of them are booing and Mingus has disappeared somewhere having a row, and it's all on the record. There's this incredible tension and it was the most formative record of the whole time that I was 'away'. I got absolutely obsessed with this record. [Hits mini-disc recorder for emphasis]

That sounds intense. Mingus is one of those names that I've always wondered about but never known where to even start.

Oh, I can write you a list. I think it was our sound guy, he went out and bought a load of Mingus and we used to sit around listening to it. And when I heard the Town Hall record, I immediately started seeing things, it was really freaky. It's not happened to me very often, but it was immediate. I couldn't even see where I was, barely. It was fucking weird. And basically, [with] The National Anthem what I wanted to do with the horn thing... On the day I said to them, "You know when you've been in a traffic jam for four hours and if someone says the wrong thing to you, you'll just kill 'em, you'll fucking snap and probably throttle them. You're like this [holds palm up to his face] with everybody and any tiny spark and you're going to go off and you're in the midst of two or three hundred other people who are in exactly the same thing." I wanted them to basically play like that, like this fucking close to going off, lynching or killing -- it's like a mob just about to spark off. It's all we gave them other than we got the same instruments as The Town Hall Concert and arranged them in roughly the same way. And there was one melody -- "Oh, this is a melody that some of you can play, if you feel like it!" And Jonny and I were conducting it, and we ran through it a few times and people started to get ideas and it was such a great day. I broke my foot, actually, because I was jumping up and down so much.

It was great! The bit at the end was my favourite bit, because they said, "Well, what are we going to do at the end?" And I said, "I'll go 1-2-3-4 and you just hit whatever note's in your head as loud as you possibly can." And that was just the best sound you've ever heard. It was amazing.

La version studio est plus longue mais moins furieuse que la version live. Ici, sont à l'honneur Phil et Colin qui offrent une partie rythmique exemplaire de complémentarité, le début est assez impressionnant, pourtant, tout semble simple, la basse est enfantine, répétitive… Mais l'effet, le son de la basse évite un ennui possible.
The National Anthem introduit souvent les lives, quelque part, cette chanson pourrait être dédiée à leurs voyages incessants... Un groupe de rock connu parcourt le monde, Radiohead a tourné sans s'arrêter pendant des années, ce serait leur hymne a eux.
Encore une fois, une chanson pleine de folies avec un orchestre free jazz totalement déjanté, insupportable même pour les puristes, pourtant, tout ce désordre reste en ordre. La production est très forte dans cette chanson mais pour autant, Nigel Godrich n'a pas dénaturé The National Anthem. (Flavien)

It's great, it's got Charlie Mingus horns on it.

La partie cuivre est dans le style de Mingus. Si vous ne connaissez pas très bien, je vous conseille les enregistrements chez Columbia en 1959 : MINGUS AH HUM, MINGUS DYNASTY. C'est génial et vous comprendrez pourquoi Radiohead s'en est inspiré. (Alexandre)

[...] The others sound ok too.( everything, everyone/the national anthem). [...]

'everythin, everyone, the national anthem'. tout ça est un lapsus venu d'une mauvaise interprétation du journal d'Ed, ce qu'il a expliqué plus tard sur le board. Il citait dans son journal des chansons dont 'everything in its right place' et 'everyone, national anthem'. Simplement il a juste raccourci le nom de la chanson par flemme.
il y a donc deux chansons : Everything in its right place et everyone/ national anthem... (Benrio)

[...] -i've tried to write something about what we've been doing in the last five weeks - [...] we're in london at present and nigel is mixing; he has been for three days. which means that we have actually finished six or so tracks. this has been our life for the last five weeks - we had a list of about ten songs which was then further narrowed down to six. they are definitely different....................there's an eight piece brass ensemble in a charles mingus style on one - eight 'jazzers' came down for the day and blew their stuff all over 'everyone - the national anthem'. they were fantastic............thom and jonny conducted. what a day. [...]

[...] -j'ai essayé d'écrire ce qu'on a fait durant les cinq dernières semaines - [...] nous sommes maintenant à londres et nigel mixe; il mixe depuis trois jours. ce qui veut dire que nous avons vraiment fini environ six pistes. ça a été notre vie pendant les cinq dernières semaines - nous avions une liste de dix chansons qui a été réduite à six. elles sont vraiment différentes....................il y a un ensemble de huit cuivres genre charles mingus sur une - huit 'jazzmen' sont venus pendant une journée souffler leur truc partout sur 'everyone - the national anthem'. ils étaient fantastiques............thom et jonny les dirigeaient. quelle journée. [...]

enregistrement

Nigel Godrich with Radiohead

assistant

Gerard Navarro

gaffer

Plank

engineered and mixed

Nigel Godrich

additional engineering

Gerard Navarro and Graeme Stewart

master

Chris Blair
Abbey Road Studios

trompette

Andy Bush

saxophone alto

Steve Hamilton

saxophone alto

Martin Hathaway

saxophone tenor

Andy Hamilton

saxophone tenor

Mark Lockhaert

saxophone bariton

Stan Harrison

trombonne

Liam Kerkman

trombonne basse

Mike Kearsey

sample rythmique

Henry Binns