Radiohead’s long-awaited new single is one of the purest folk-pop songs they’ve ever written
“Follow Me Around,” previously available only via tour documentary Meeting People Is Easy or live bootleg, was left off of Kid A and Amnesiac for a reason
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Kid A Mnesia, the upcoming reissue of Radiohead’s landmark fourth and fifth albums (Kid A and Amnesiac, natch), also contains a third disc compiling unearthed material from those original recording sessions. And while first single “If You Say The Word” certainly gives the impression of having been put to tape during that transformative period for the art-rock band, the latest single, “Follow Me Around,” is something different: Namely, it’s one of the most straightforward pop songs ever written by Radiohead.
From its opening chords, it’s clear that this track was left off of Kid A and Amnesiac for a reason. Both of those records redefined the sound of Radiohead, in ways that steered sharply away from the guitar-based rock for which it was known. The biggest absence? Exactly the sort of strummy, immediate guitar hooks that had earned the band its early reputation—in other words, the very definition of “Follow Me Around,” which from the start defines itself in traditionalist opposition to the band’s then-evolving style.
The song has been a long-running white whale of sorts for fans. Originally (and for a couple of years, only) available as part of Meeting People Is Easy, the tour documentary that did a terrific job making it seem like being in Radiohead was a fucking bummer), viewers heard it rehearsed during a soundcheck in Japan. From then on, it was a rarely heard presence during live shows—first played in 2000, in fact, only because of a fan campaign for it to be played live (via a website called—what else?—followmearound.com).
Listening to it now, it’s easy to hear why Radiohead would have shied away from including it on the released from the time. It’s maybe the simplest, purest pop song they’ve ever put out—even “High And Dry,” which is about as poppy as the band gets, has some odd, ethereal elements pulling at the seams. Here, it’s just an acoustic guitar and Thom Yorke singing in a classic-rock register. Honestly, close your eyes, and it’s not hard to imagine Eddie Vedder singing this, a B-side to some old Pearl Jam single.
It’s surprising to hear Radiohead, through the lens of 2021, delivering such a ’70s-style folk-pop ballad at a time when the group was busily reinventing itself, but given its earlier origins—and the fact that Yorke has always excelled at organic simplicity, whether behind the piano or strapped into an acoustic guitar—it’s a compelling document of a Radiohead that might have been. Johnny Greenwood has made no secret of his belief that the band was going to return to a back-to-basics guitar rock record after its “experimental” phase, only for the exact opposite to happen.
But “Follow Me Around,” with its three-chord foundation, Neil Young-like verse-chorus-verse structure, and earworm accessibility, is a testament to that alternate path. Radiohead ended up transforming itself, and the sound of both mainstream and independent art rock, with its ambitious creative reimagining. Songs like this serve as a reminder that, underneath it all, there’s an equally clear reason the band could make such an ambitious shift: because it had mastered the classic rock possibilities that drove its sound in the first place.
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“Hi…I’m Larry and this is my brother Darryl, and this is my other brother Darryl, and this is my other brother Darryl and this is my other brother Darryl.*studio audience applauds wildly*
(Most AV Club commenters stare blankly at Mesozoic era reference.)
(the cool ones get it)
“The right people will get it” -Joel Hodgson
Meow.
I mean, I got it.
i know
It was really weird, I dreamed that I was living in New England…
MEOW!
I used to watch Newhart with my mom, it ended when I was like 11 and I haven’t watched it since. I really should give it a rewatch now that I’m technically an adult.
Cool, my mom also turned me on to that one. I’ve caught reruns here and there. That might be a DVD set I’d shell out for.
Same. Though during the last few years, I’ve occasionally Youtubed the intro just to feel a sense of simple normality again. That Henry Mancini theme song is weapons-grade calming nostalgia.
I live in rural upstate NY, and I swear this guy is a local (because of the bathrobe, it may be me…).On a Radiohead note, I’ve always enjoyed their output, but OK Computer will still be the highwater mark of their output for me. I still have the CD I bought just a week after it came out in 1997, and still plays, for the most part.It’s a tie between The Bends and Kid A. I have fond memories of both when they were playing in the background of interesting life experiences.
Is that guy pearce?
No, it’s his less popular twin, Gui Pierce.
“Hawk” Guy Pierce?
“’Scuse me while I kiss this” Guy Pierce?
It definitely is. I think it’s odd that this wasn’t mentioned in the article
Follow Me(mento) Around
In other words, “Written around the time of ‘Kid A’ and ‘Amnesiac,’ the song was pleasant and listenable, and thus didn’t fit in with Radiohead’s evolving sensibility . . .
Oh Radiohead, why release super catchy songs when you can do more experimental songs involving lots of bleeps and bloops?(See Lift)
I agree. They should stick with the bleeps.
Lift is fascinating because it pinpoints the moment when they very intentionally decided to not be Coldplay (and it was before Coldplay existed). Still a good song that would’ve been a huge hit had they released it at the time.
It’s a great song, though. I completely understand why they didn’t put it on Ok Computer or even why they were reluctant to even release it but it’s such a waste if a good song. There’s only so many great songs a band will ever do so why throw one of them away?
potlatch?
To be fair, Radiohead have put out a crap-ton of great songs, several of which emerged after “Lift.”
I’m not saying they haven’t, just that it’s a great song they buried for years and years. A great song is a great song even if it’s too poppy and ruins the band’s image of non-sellout musical capital A artists
I’ve been waiting over 20 years for a proper version of that song. Love it.Even though this version removes the line about Tony Blair, still great.
Glad I’m not the only one missing the old Tony Blair lines. I first heard this on a concert bootleg about twenty years ago and any time it gets stuck in my head (or I am somehow reminded of Tony Blair), I end up singing “You lied to us, Tony,” etc, for hours.
… people campaigned for this? And wanted it released for Years? It sounds like a precursor to paranoid android (it terms of annoying-while-still-technically-enjoyable), except more annoying
The video’s cool!
It’s maybe the simplest, purest pop song they’ve ever put out—even “High and Dry,” which is about as poppy as the band gets, has some odd, ethereal elements pulling at the seams. Here, it’s just an acoustic guitar and Thom Yorke singing in a classic-rock register.
So… you’ve never heard Pablo Honey?
I think most people have only heard the one song off that album.
No, Darling, I’ve never heard Pablo.
I’d put up Man Of War as their most classic rock song.
Or Polyethylene, Killer Cars, True Love Waits (the old version) or Lift… Basically look at the non-album, b-sides, and long-unreleased songs.
Yep, especially the Bends era b sides, and why stop there? I offer two songs that out-gooey-pop Follow Me Around and High And DryHow Can You Be SureYou Never Wash Up After Yourself
Stop Whispering is right up there.
Look, anyone can play guitar, man…
Yeah but not like Carter Guitar, man.
Maybe I’m just a simpleton who doesn’t really like music that challenges me to like it… but Radiohead’s post-OK Computer output is exactly when I stopped following them around. I didn’t need them to make The Bends/OK Computer over and over, but some, you know, melodies and a hint of traditional strong structure would’ve been nice.
So you must love hail to the thief, in Rainbows, and a moon shaped pool, then?
I can understand that but In Rainbows could maybe possibly be their best album. Very pretty and melodic and more traditionally. Hail to Thief is also a good and underrated. It’s a nice blend of more guitar based songs and they’re more experimental stuff. Some of it even rocks
I will say that when I’ve seen them live, I enjoy the post-OK Computer stuff way more than on record. Maybe it’s because when they play it live they can only do so much. And they also want to keep the audience’s attention so the tracks they play are the ones that just rock a tad more.
The more I listen to it, the more I am convinced In Rainbows is their very best and most perfect album. Just a complete cover-to-cover listen with no weak links. A Moon Shaped Pool is stellar too.
One of their best, and correct me if I’m wrong, it was put out for free back in the day when everyone was trying to find a solution to pirating music. So basically there would be no reason not to own that album.
Yeah I think the problem was Kid A was too self-consciously challenging and anti-commercial. Amnesiac was only slightly more welcoming. And this release proves that while they still could write commercial songs, they were simply uninterested in releasing them. And while experimentation is great, once they started using the new sounds in a more listenable setting, with Hail to the Thief and In Rainbows, they got better results. The OP should try Hail, particularly the second half, as it really sounds like the next step that a regular band would make after Ok Computer, introducing new sounds but still being accessible rather than the quantum leap forward of Kid A. Also they should check out the B sides from the era, as they are a sort of primer to the new instrumentation.
I liked Kid A, because it retained the earlier anthemic quality to some of their songs. After that their sound got very muddy and prickly. I didn’t need a full-on back to basics rock record, but it would have been nice to have some songs that didn’t evoke a feeling of dread. In Rainbows was a nice return to form.
I too prefer when he whines more melodically like this.Still torture to listen to a whole song of it though.
I’ll do you one better and say they’ve been whiney and lame since the jump, sad white people’s music for when you have a headache or something. Like Bon Iver, I have never understood why anyone would want to spend their time listening to such fussy, irritating music. If David Letterman were transformed into music, it would be Radiohead. Can’t have sex to it, can’t dance to it, not fun for driving, not music for hanging out–when do people listen to Radiohead, when they’re going to sleep? It’s baffling.
You should check out In Rainbows if you haven’t already. Some great tunes on that one.
They’ve done tons of melodic and relatively traditional songs since then.
I don’t doubt that, but it’s just too much of a chore for me to wade through the chaff to get to the wheat at this point. In a weird way, Radiohead and Weezer have run two sort of parallel tracks for me. Loved their first couple records, and since then it’s been a steady parade of “THIS is the record that will rekindle my love of the band.” A little more so for Weezer, since they release more music and it’s basically a music critic cottage industry to write a “THIS Weezer album is a return to form!” review every two years. I just kept looking for kernels of the music I loved, but it’s too few and far between.
First of all, forget Weezer. The Weezer you love or like or even find tolerable is long, long gone. When that’s finished—it shouldn’t take you more than 30 seconds to mourn them, they were never all that great—put your energy into meeting this band halfway, letting go of traditional song structures or your ears’ tendency to locate a guitar.This song is objectively one thousand times better than anything Coldplay has ever or will ever come up with. It’s easy to see why Radiohead never officially released it.
Remember when it looked for a hot minute like Coldplay might continue down the road Radiohead started with The Bends? Always kinda disappointed that they never really came close to filling that void.
remember when that was said about every british band?
True, but no one REALLY thought Travis or Kaiser Chiefs or Kula Shaker were really gonna do it. Coldplay definitely seemed the most likely to pull it off.
i remember hearing “muse is the next radiohead” and then it was the doves, then snow patrol, gomez, keane, grandaddy here in the US blah blah blah.
Except it’s not mostly chaff. Just about all of Radiohead’s last three albums, going back 15 years now, are loaded with melody and hooks. You can say you haven’t cared for it, but your initial comment makes it sound like you haven’t actually listened much, because it’s misguided.I mean, In Rainbows alone is just loaded with stuff that sticks in your head.
“It’s just too much of a chore for me…” It’s a chore to listen to music? But seriously though… Your critique here makes little sense to me. You said you loved only Radiohead’s first couple albums of Pablo Honey and The Bends, but then say their post-OK Computer (3rd album) work is when they fell off. Their first couple albums are nothing like OK Computer (their most iconic album), which is basically when they found their musical niche. This is the opposite for Weezer, who moved to a more commercial sound, which is why old fans refer to their originality as long gone. Radiohead, on the other hand, expanded on their musicality following OK Computer with some stellar albums that fall in line with that sound, rather than their first couple albums when they were ripping off The Hollies. Amnesiac, Hail to the Thief, In Rainbows, and A Moon Shaped Pool contain a lot of the Radiohead that we know and love from their OK Computer days, where some would add more albums than this, but these are my favorites. It’s practically impossible for most Radiohead fans to say anything bad about In Rainbows, which was less of a “return to form” and more of a “improvement on the formula” situation, because it really is too damn good. They haven’t really fallen off at all… If they did, it was prior to OK Computer, but you won’t find all that many people truly lamenting the departure of their sound after the first couple albums. So if you like OK Computer, then Radiohead has done right by that standard for years, especially culminating to In Rainbows, which might be better than OK Computer, depending on who you ask.
I didn’t say Radiohead had fallen off, I just said where they went wasn’t for me. The Weezer comparison wasn’t a direct parallel, more of an intersection they crossed going opposite ways but the end result—lack of interest—was the same.
I suppose for me a better comparison is Wilco, particularly OK Computer and Yankee Hotel Foxtrot, which for both bands is the clear inflection point of their sound. Both records leaned heavily into where the bands were going, but were still built around the structure of the established sound, and for me that was the perfect blend. A song like Karma Police could very easily have been on the Bends, but not on Amnesiac. After those two albums, I pretty much lost interest in both of those bands. I have zero proof of this, but it almost seems like Wilco were very influenced by the direction Radiohead went it, as far as the attitude of changing their sound. I’ll admit I have heard almost nothing of Radiohead’s last couple records, but after giving a lot of time to Kid A, Amnesiac, and Hail the the Thief, it just seemed like the band was no longer for me. Yeah, it was a chore.(Oh, and also, wouldn’t say i “love” Pablo Honey. it’s just OK. Really, the Bends is just about the perfect record, start to finish, and i really like OK Computer, and that’s about it.)
I was obsessed with Radiohead about 20 years ago, but that obsession has tapered off over the years, so that today I don’t ever have the inclination to put them on. This single does not reignite my passion.
Counterpoint: I’m a casual listener that enjoys Radiohead when I hear it.I kind of like this song.
I don’t really keep up with music anymore but there was some Radiohead stuff that leaked and then in response was released as a pay what you want thing a few years back. I liked a lot of that.
The “Alice In Chains Unplugged” force is strong with this one.
Totally. Sounds more Layne Staley than Eddie Vedder.
I heard this song 20ish years ago, even had it on my computer at the time (thanks, Soulseek!) and I don’t think I was ever aware that it wasn’t an official release. I think I just assumed it was a B-side or a bonus track or something. It’s weird to see this article talking about it as a new release, like a small, forgotten part of my subconscious has been low-key living a lie for the past couple of decades or so.
Anyway, I’ve always liked it. A nice little song.
I got it off a web page circa 1998. It was called The Perfect Song Facsimile, and I don’t know why it was allowed to operate, but the list of songs .. the catalog. Big Ideas/Nude, a haunting acoustic version, Man o War with raw guitars, a completely different guitar driven There There. Pyramid Song was called Nothing To Fear. Then that whole amazing b side catalog. Maquiladora, Trickster, etc
It sounds boring
less boring than Coldplay. Or most Muse.
Meh. It’s not bad but it has a “the hell with it, let’s release the demo” energy. Unlike Lift and Big Boots, who sounded like they were finished but didn’t really fit on the record, Follow Me Around feels like a version the band settled with after too many years working on it. It was never more than a b-side butI was hoping for an improved version of the one Thom was singing way back when.
Always been of the belief that Amnesiac was their best record. The one-two opening punch of Packt Like Sardines into Pyramid Song is gorgeous. I Might Be Wrong, Pulk/Pull, Spinning Plates, You & Whose Army… it’s all top drawer.
I mean, it’s fine. But it sounds more like a long-forgotten B side than a long-lost masterpiece.
It sounds like Exile… -era Rolling Stones.That’s a compliment.
I like creep and their other song… oh wait
i understand you wrote this for the casual fan, but most fans heard this song long before the documentary and it has been played by Thom solo during shows multiple times. So, it is not that much of a rarity. And while High and Dry was a radio friendly “pop” rock song, The Bends is a forgotten album commercially speaking in the USA. If it wasn’t for Ok Computer, Radiohead would have died out in the USA long before Kid A did that to them in this country. Essentially this song was a demo for the Kid A/Amnesiac period and likely didn’t end up on the either album because it sounded too similar to Optimistic and/or I Might Be Wrong. But this song, like other ones such as Like Spinning Plates, were played often by Thom at shows only with him on his piano or guitar in between the main set and second. It’s that period’s version of True Love Waits
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