This whole little album is a joy. The stylistic fusion works so well. Nicely prefigures The Shepherd's Dog's stylistic changes for Iron & Wine too.

…ck…f…m…ss…a granny smith…

Ever since I learned Comic Sans was based on the font used in Watchmen, it makes me chuckle inwardly every time I see it being used in primary schools, at bake sales, etc etc.

I think you're confused. That's the Welsh.

I'm sure we're all well aware of it by now, but I'm just going to leave this here one more time…

[[TECHNO]]

Everything's Alright is such a fantastic track. Really well put together - the sweet melody at the start ends up really telling you everything is most definitely Not Alright by the outro. I remember being kind of obsessed with this track as a kid.

GODDAMMIT. I knew as I was typing that something was going to be horribly wrong.

I think the Amazon episode has provided more of my go-to conversational quotes than any other half hour of TV.
"The mind is willing but the flesh is spongy and bruised!" (More useful than you might expect)

I'm curious now. What do you regard as a key change then? And just to be clear, I'm talking about tonic roots here, Aminor and D major, not the actual chords the guitar plays. I'm puzzled as to how you think this isn't.
ETA: Oh god yes, you're totally right. Just realised how badly I'd been tricked in the first…

Arguably, almost all of Radiohead's later songs are better live than recorded. If we're going to have to stick with live *recordings* though, it's gotta be I Might Be Wrong from the live album of the same name. What on Amnesiac comes across as a cool but fairly laid back song becomes an absolute monster, all driving,…

There most definitely is. Amin -> Dmaj. Power shift + simultaneous change from minor to major.

Someone once (facetiously) described a Radiohead Chord to me as "Take a regular chord, but then change one of the notes". I think there's something in that. They're big fans of playing essentially in two keys at once. I think that's why EIIRP sounds like it does - it's a fairly normal set of keys, but the vocal…

This has been bothering me all day to the point I got out an instrument and sat down with the song for 10 minutes. The reason this works so beautifully in this case is that the change deliberately shapes up to be a classic power shift Aminor -> Bminor, with the bassline resolving onto the expected B tonic. BUT, over…

And *that* is how you earn your key change.

Downvoted for username-comment synergy.

I'd say it's a huge change musically, though not in the hackneyed "hey, a key change!" way of some of the other examples here. The whole emotional effect of the arrival of the "lost myself" section depends on that change.

C'mon people. Karma Police is clearly the correct answer.

I can't even remember how I got into MM (…was I given GNFPWLBN by someone?), but the experience seemed to be very different for a Brit. I don't recall ever hearing their huge radio hits prior to getting them in their album context, and I think they're better for it. Working backwards into their older material makes it…

The "storm" and descent into the demented jig hornpipe at the end of Parting of the Sensory remains a personal favourite. And the lyrical work on Missed the Boat following it. Lovely stuff.