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    We're at 60-51

    From "worst" to "first," the Radiohead countdown continues

    Jim Beviglia
    Feb 6, 2010 | 12:00 am

    After taking on warhorses like the Beatles, the Stones, and Springsteen on the music site JamsBio Magazine, we've chosen Radiohead as the first modern band to warrant a worst-to-first countdown of their music, and the inaugural ranking on CultureMap. Check back each week as our obsessive list-maker Jbev counts down all of the band’s album cuts and gives his reasons for the rankings, and also be prepared to tell him why he’s wrong in the comments section. It’s "Everything In Its Right Place: The Ultimate Radiohead Countdown."

    Today's countdown looks at the rankings from #60-51. Tune in each Saturday as JBev continues his countdown to number 1!

    Song 60: "In Limbo"
    Album: "Kid A"

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    Thom Yorke once stated that he felt that this song sounded like The Police. Indeed “In Limbo” has some of the knotty textures of that legendary trio’s more complicated compositions from the early '80s. But this track from "Kid A" veers away from Sting and the boys in that a haze hangs over the entire affair, signifying the song’s themes of displacement and bewilderment almost too well.

    The hypnotic dance of the interweaving guitars certainly shows the band’s jazzier influences, and the beauty of the music is such that Yorke’s strangled cries are a bit disorienting, like someone interrupting a broadcast. It’s a jarring effect.

    In case you’re wondering, “Lundy, Fastnet, Irish Sea,” which Thom mumbles early on in the song, is a reference to a nightly shipping forecast, a quote that plays right into the nautical theme. When he sings, “You’re living in a fantasy world,” it sounds like an insult, but when he adds right after, “This beautiful world,” he suddenly sounds envious. Eventually he’s wiped out of the picture along with the music by scraping sound effects. It’s all a bit mysterious and difficult, but “In Limbo” certainly holds you in its spell even as it recedes from your grasp.

    Song 59: "I Can't"
    Album: "Pablo Honey"

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    It suffers from inadequate production, a bit muddy and imprecise. The lyrics are clumsy at times. And the instrumental outro, while well-performed, is by-the-numbers and pads the running time while adding nothing of note to the song.

    Yet for all its faults, there’s an inherent sweetness to “I Can’t” that stands out amongst the band’s other work. There’s no dark worldview here, no encroaching dangers, just a young man lacking the confidence to say the things he needs to say to the person he cares about the most.

    In that context, the lyrical deficiencies make more sense, fitting the character’s own struggles with the right words. The refrain is catchy enough that you don’t mind it being repeated so often. It’s the kind of song that you end up humming to yourself even after you hear it for the very first time, and you really can’t say that about too many other Radiohead songs.

    So what if it’s pretty straightforward, save the weird psychedelic guitar that opens the song and sounds a little like “Hurdy Gurdy Man” by Donovan? When you’ve got a tune as innocently endearing as “I Can’t,” you can get away with simplicity.

    Song 58: "I Will"
    Album: "Hail to the Thief"

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    The chief selling point of this track off "Hail To The Thief" is Thom Yorke’s voice, mutitracked and harmonizing with itself to chillingly beautiful effect. Eventually another track of Thom comes in with a countermelody. It’s like Brian Wilson and Freddie Mercury’s love-child.

    The genesis for the song is far from light-hearted though, as Yorke was apparently inspired by a Gulf War incident in which children were killed. In typical Radiohead fashion, the band doesn’t spell this out for the audience. They expertly create a mood though, with the minimalist lyrics and delicate melody simply suggesting, never hectoring. It’s almost a subliminal effect, and nobody does that kind of thing better than Radiohead.

    “I Will” had actually appeared on record before its placement on "Thief;" the track was reversed and became "Amesiac's" head-tripping “Like Spinning Plates.” This version is less ambitious, of course, just trebly guitar and vocal and only two minutes long. But it’s a snapshot filled with dread, the most mournful lullaby you’ll ever hear.

    Song 57: "Fitter Happier"
    Album: "OK Computer"

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    Let’s get this straight right now: I think "OK Computer" is Radiohead’s finest work and that it’s pretty unassailable as an album, probably up there in my favorite two or three of all time. “Fitter Happier” is an integral part of that album, and I think it’s brilliant.

    That it’s ranked so low on this list is simply because it’s only music in the loosest sense of the word. It is a recording, I’ll grant you that, and it speaks to the effectiveness with which this recording accomplishes its objective that I’ve ranked it higher than some pretty damn good songs, actual songs. On its own though, it’s a bit tough to want to sit through it too often. When you get right down to it, it’s pretty terrifying stuff.

    Using a computer voice to neutralize all human emotion from entering the picture, Thom Yorke runs through a litany of slogans that are all too often supposed to represent the way to live a good and proper life. But what these mantras lead to is a desensitized middle ground devoid of the highs and lows that comprise a rich existence. Yorke imagines a world with no mistakes, no flaws, and, you guessed it, no alarms and no surprises. The end result would be, as the voice makes clear, robotic.

    The idle piano strains in the background, supposedly played by Yorke while drunk, are like a nostalgic melody for a time past when things weren’t so homogenized. Eventually that too is drowned out, until we’re left with that blood-curdling description of what we’ll all become unless we rage against this subtle but inexorable march towards numbness: “A pig in a cage on antibiotics. ”

    Again, brilliant. Is it essential to "OK Computer"? Yes. Would I listen to “Fitter Happier” knowing that any one of the next 56 songs on this list was playing on another station? No. Tough choices, my friends. Radiohead presents you with tough choices.

    Song 56: "Blow Out"
    Album: "Pablo Honey"

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    You can see why Radiohead disavows much of "Pablo Honey" these days; although most of it holds up well, it’s also often clumsy and lacks the ambition and grandeur of all that was to come. Yet “Blow Out” is one song the band seems to regard fondly, which is understandable. They would take many of the touches they lent to the song and use them liberally in their subsequent work.

    When “Blow Out” starts, it’s got the restrained yet probing feel of an "In Rainbows" track. The big guitars that characterize much of "Pablo Honey" are absent, leaving Ed O’Brien and Jonny Greemwood to do much subtler work, one precisely picking out the understated riff, the other providing textures in the open spaces. Phil Selway’s drumming is high-hat and cymbal heavy, a jazzy feel yet an insistent beat, while Colin Greenwood underpins the whole song with his bass.

    Thom Yorke also finds some pieces here that he would use in the future, like the overlaid vocals that make it sound like his id is spilling out while he’s unaware. He also lets out some bellows that are quite similar to the kind that would make it onto "OK Computer." Meanwhile, his lyrical imagery is much finer and more suggestive here than on some of the more blunt offerings on the rest of the album. “All wrapped up in cotton wool,” describing everything the narrator touches, is a perfect rendering of ineffectualness.

    Finally, there is the experimentation, with the siren-like guitar blast-off that punctuates the song. The band also does a great job of mixing up the instrumentation throughout, keeping listeners on their toes.

    If anything, they throw a little bit too much into the stew here, leaving us all a tad overfilled and exhausted at song’s end. But it makes sense that “Blow Out” was the last song on "Pablo Honey," because it was clear from this song that the band was prepared to leave their initial album behind.

    Song 55: "Scatterbrain"
    Album: "Hail to the Thief"

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    Maybe "Hail To The Thief" is a shade too long, but I liken it to The Beatles "White Album" in that it allows us to hear some songs that otherwise would have been relegated to B-sides or bootleg limbo. I have a feeling that “Scatterbrain” is one of those songs because it feels unfinished, almost like the sketch of an idea not totally fleshed out. And yet it works in its own modest and mysterious way.

    If you just concentrated on the gorgeous melody and the gentle guitars, you’d never know that Thom Yorke was describing a hail-pelting, roof-ripping storm. Indeed the dreamy feel of the music lends the impression that the narrator has somehow left his body and is watching himself walk through the carnage while his spirit resides in a much more restful place.

    The line “Yesterday’s headlines blown by the wind” was inspired by a scene from a Thomas Pynchon novel, which is fitting because his complicated yet brilliant books have scattered many a brain. “Scatterbrain” has a similarly paradoxical effect: It’s so pretty it hurts.

    Song 54: "I Might Be Wrong"
    Album: "Amnesiac"

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    One of the ways that Radiohead challenges its listeners is by throwing elements together in their songs that seem, on the surface, to be opposing one another. What those elements create is sometimes unsettling, sometimes harsh, but, more often than not, they create something revelatory.

    “I Might Be Wrong,” found on "Amnesiac," is a prime example of this tactic. The song starts with Jonny Greenwood’s grimy blues riff, which leads the listener to expect one thing. That’s immediately confounded by the beat, which sounds computer-driven and yet it still kicks in unexpected places. On top of all that comes Thom Yorke’s vocal, a fragile falsetto which seems entombed compared with the crispness of the beat and the rough edges of the guitar.

    And just when you think your ears have got it all down, everything drops away in a false finish, revealing a lonely guitar finding some idle beauty in the song’s melody. All of these disparate forces continually confound expectations and keep dullness from ever settling in.

    This is once again a case of the words being little more than an afterthought, which is probably for the best, because these lyrics don’t ever connect the dots and aren’t interesting enough as individual phrases to overcome that. No matter. Just think of “I Might Be Wrong” as a compelling instrumental.

    Song 53: "15 Step"
    Album: "In Rainbows"

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    It’s as rhythmically daring as anything Radiohead has ever recorded, proof from the very first song that "In Rainbows" would continue along the band’s path of musical exploration. The chunky computerized beats meld seamlessly with Phil Selway’s battering on “15 Step,” and the odd tempo never gives you a moment to pause and get comfy. That’s a good thing, because at the end of its 4 minutes, the song leaves you breathless and exhilarated.

    I do have to admit that the sleepy guitar noodling in the first verses doesn’t quite gibe with the rest for me; it’s a bit of a momentum killer. Better is when the high guitars drop off and allow Colin Greenwood to sprint along with the beat on bass later on in the song.

    Yorke’s tune is ingeniously varied here; it’s a martial chant in the opening crunch before morphing into something more seductive as the song advances. The lyrics are opaque yet have some affecting moments, like when the frontman sings, “It comes us to us all/It’s as soft as your pillow.” He leaves us to fill in the blank as to what “it” is, according to our own desires or fears.

    The version of “15 Step” on the album will always pale compared to the marching band-assisted version the band trotted out at the 2009 Grammys; who knew that tubas worked so well with themes of alienation and self-deception? (Somewhere Lindsay Buckingham has been vindicated for “Tusk.”) Still, it’s a firecracker of a way to kick off an album, and proof that, unlike the song’s protagonist, this band never ends up where they started.

    Song 52: "Bullet Proof... I Wish I Was"
    Album: "The Bends"

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    The band’s rhythm section worked the bare bones of this song up with Thom Yorke, leaving Ed O’Brien and Jonny Greenwood to figure out where to come in. Their efforts ended up lifting “Bulletproof” into another musical stratosphere, as they recorded effects separately and then had John Leckie meld them onto the main track.

    So, as Yorke practically mumbles out the lyrics over the low bass rumble and shaky pulse of a beat, the pyrotechnics lurch about in the background. It effectively conveys what the song is about, that is, Yorke’s sensitivity to everything while living in a touring, rock lifestyle that overloads your senses. His vocal is at the heart of the song, trying in vain to stay grounded, but the guitars keep pulling him skyward.

    This is the band at their most fragile and heartfelt, baring their souls for all their fans to see. Their ability to downshift into material this delicate cannot be overstated, as that versatility is rare. Bands usually do slow stuff as a cynical ploy for more sales; Radiohead does it because they’re following their hearts, even if it leads them down vulnerable paths.

    Song 51: "You and Whose Army"
    Album: "Amnesiac"

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    As rallying cries go, “You And Whose Army” isn’t quite the Agincourt speech by Henry V. Oh, if you just read the lyrics, you’d get a brash, if uncouth, defiance from them. But, as sung by Thom Yorke in his most dejected, world-weary voice, they’re hardly going to inspire anybody.

    Then again, that’s the point of this track off "Amnesiac." Because of its title, "Hail To The Thief" is usually considered Radiohead’s political album, but it doesn’t contain anything nearly as pointed as this anti-Tony Blair diatribe. Of course, Yorke always keeps things on the coy side during the song, allowing the music and his delivery do more talking than the lyrics could without ever getting specific.

    You certainly can hear the withering contempt with which he spits out lines like “You and your cronies” and “You forget so easy.” But the downcast music, which consists of just a lonely, weeping guitar in the early part of the song, makes it clear that there will be no triumph here.

    When the rest of the band does join in, led by a pounding piano part, it sounds more like the march of the armies of the dead, which is accentuated by Yorke’s final lines, “We ride tonight/Ghost horses.” He seems to be suggesting that those politicians who betray their constituents, as Yorke deemed Blair to have done, will eventually be held responsible for their actions, if not in this world, then certainly in the one that awaits.

    SONGS 50-41 >>

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    independence day fun

    Where to celebrate the 4th of July throughout the Houston area in 2025

    Holly Beretto
    Jun 18, 2025 | 11:30 am
    Shell Freedom Over Texas
    Courtesy of Shell Freedom Over Texas
    The city has revealed the performers for its July 4 celebration.

    A country only turns 249 once. To celebrate Independence Day, cities around the Houston region have a host of entertainment options for all ages — including, of course, fireworks to light up the night sky. Happy 4th of July!

    Thursday, July 3
    Houston Symphony: Star-Spangled Salute
    This annual concert at the Cynthia Woods Mitchell Pavilion is free for everyone, and offers a selection of patriotic songs to celebrate the holiday. 8pm.

    Friday, July 4
    Freedom Over Texas
    Houston’s annual July 4th bash returns to Eleanor Tinsley Park along Allen Parkway with local, regional, and national entertainment, headlined by Ashley McBryde and Lee Brice. Attendees also have access to a beer garden; a sponsored area with representatives from local sports teams; the "Red, White & Play Kids Zone" with games, face painting, and entertainment; and "Liberty Park," which salutes the military and includes pictures with military assets. The grand finale of the celebration is a “Texas-sized” fireworks display. This year’s event will donate a portion of the entrance fee to the Houston Food Bank. Gates open at 4 pm. The cost is $10.

    Bubbles and Fireworks
    Buffalo Bayou Partnership hosts this event, which sets sail from Allen’s Landing at 8 pm. Hop on a boat and head into the bayou for a sensational view of fireworks over downtown, complete with bubbly, wine, beer, and light bites. The cost is $150 per person. Space is limited and this event is for ages 13 and older. Reserve online.

    City of Baytown 4th of July Celebration
    Beginning at 4 pm, the event includes live performances from groups like the Spazmatics and The Zydeco Outlaws, among others, food and craft vendors, and children’s activities. The evening is capped off with fireworks. The event is free to attend.

    City of Bellaire Celebration of Independence Parade & Festival
    This free event at Loftin Park kicks off with a parade at 9 am. A festival, held from 9:30 am-12 pm, includes music, food, and other family fun.

    City of Friendswood July 4th Celebration
    The day begins at 10 am, with a parade on Friendswood Drive, followed by a festival in Stevenson Park with rides, games, music, and entertainment. At 7 pm, a celebration will be held in Centennial Park, with live music and other entertainment, capped by a fireworks show around 9:10 pm.

    City of La Porte 4th of July in Five Points
    After a parade down Broadway, there’s a party at Five Points Plaza, featuring free hot dogs while they last, live music, and a fire truck that will spray water in the street. All festivities are free. The fun starts at 10:30 am.

    City of Pasadena 4th Fest
    Pasadena's party features a live DJ, Pasadena Idol performers, and a host of other activities celebrating the nation’s birthday at the Pasadena Fairgrounds. The festival starts at 4 pm, with a fireworks display at 9:15 pm. The event is free to attend.

    City of Pearland Celebration of Freedom
    Live music, kids activities, strolling entertainment, giveaways, and a photo booth top the list of fun on the 4th in Independence Park, beginning at 6 pm. The evening finishes with an 18-minute fireworks display. It’s free to attend.

    City of Seabrook Fourth of July Parade
    The parade begins at the Miramar Shopping Center and ends at Rex L. Meador Park. Kids are encouraged to decorate bikes, scooters, wagons and other non-motorized vehicles for a special children’s parade. Look for a bounce house, hayrides, hotdogs and other Fourth of July-themed fun. Festivities begin at 9:30 am.

    City of Sugar Land Red, White, and Boom
    Gather at Constellation Field for this epic celebration with music, food, vendors, and a grand fireworks finale. Admission is free. The event kicks off at 5 pm.

    Dueling Pianos and Fireworks
    Katy’s Home Run Dugout hosts this bash, headlined by dueling piano duo Joilux. Guests can request their fave tunes, and enjoy a killer fireworks show. The event is free, and those attending can order bites and drinks off the gathering spot’s regular menu. Celebrations kick off at 8 pm.

    Einstein’s Fireworks Cruise on Lake Conroe
    Depart from Einstein’s Surf & Boat Shop at the Margaritaville Lake Resort Lake Conroe for this three-hour cruise, which includes music, snacks, and a great vantage point for seeing the fireworks on Lake Conroe. BYOB. The cost is $75.

    Fourth of July in The Woodlands
    An array of activities are happening all day long, beginning at 8 am with festivities that precede the 49th Annual South County 4th of July Parade, which winds through The Woodlands Town Center and Market Street, featuring fire engines, military units, and marching bands.

    From 10 am to 6 pm, Woodlands townships have a host of Red, White, and Pool activities in their pools (fees vary). Finally, the Red, Hot & Blue Festival and Fireworks Extravaganza kicks off at 6 pm with food, live entertainment, and family fun at multiple locations throughout The Woodlands.

    Houston Symphony: Star-Spangled Salute
    The Symphony’s free July 4 concert at Miller Outdoor Theatre in Hermann Park is a Houston tradition. Expect songs like “The Stars and Stripes Forever” and “America the Beautiful,” followed by a grand finale fireworks display. The concert begins at 8:30 pm.

    Kemah Boardwalk July 4th Celebration
    The popular entertainment zone has live music beginning at 2 pm, with multiple bands taking the stage. A fireworks show starts at 9:30 pm. The fireworks show is free. Those wishing to hop on a boat and catch the show from the water need to pay $40. Boarding begins at 9 pm.

    Missouri City Fourth Fest
    Taking place on the Houston Community College - Southwest College campus, this free party includes carnival games, live performances, food from local vendors, and a fireworks display. Festivities begin at 5 pm.

    Valley Ranch 4th Fest
    Cover band Dunn & Brooks and ZZ Tex highlight this day-long celebration, which also features yard games, a kids’ zone, train rides, a shopping boutique, July 4th swag, food trucks, and a Red, White, and Brews cash bar. It’s all capped off with Montgomery County’s largest fireworks display. The fun starts at 5 pm and admission is free.

    Saturday, July 5
    Stars, Stripes, and Swing
    The Jazz Connection Orchestra performs at Margaritaville Lake Resort Lake Conroe’s Del Lago Ballroom. There’s a cash bar with offerings such as tacos, hot dogs, and other snacks. Tickets are free but must be reserved in advance. The concert is at 7:30 pm, with a fireworks show immediately following at 9:20 pm.

    Freedom Over Texas
      
    Courtesy of Freedom Over Texas
    The Freedom Over Texas celebration takes place on the Fourth of July.
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