Saturday, April 17, 1993

Radiohead charted with "Creep": April 17, 1993

Originally posted April 17, 2012.

By the close of the ‘90s, Radiohead was hailed as one of rock’s most experimental bands, loved by critics and a loyal fan base. However, when the group’s maiden single, “Creep,” was released in 1992, it initially landed with a thud. The singles “Anyone Can Play Guitar” and “Pop Is Dead” followed, but then DJ Yoav Kutner started playing “Creep” on Israeli radio. WK The song was re-released and became what has been called “one of the great loser anthems of our time” HL and a “potent outsider anthem,” MC hitting the top 40 in the U.S. and top 10 in the UK. Its “ironic self-loathing” CR tapped into the same disenfranchised Generation X vibe of the grunge movement even though the group fell more in line with the likes of XTC and R.E.M. CR

Still, lead singer Thom Yorke saw himself as a misfit in much the same way as Nirvana’s Kurt Cobain and the song bore the “loud-soft dynamics and bleak lyrical sentiments” similar to songs by Nirvana and The Pixies. TB Regarding the former, guitarist Jonny Greenwood infused the song with blasts of guitar noise which he added because he didn’t like how quiet the song was. WK As bandmate Ed O’Brien said, “That’s the sound of Jonny trying to fuck the song up…And it made the song.” WK


Yorke wrote “Creep” about a drunk guy following a woman to whom he is attracted. WK The song captures what Guy Capuzzo called “the self-lacerating rage of an unsuccessful crush.” WK As he says, “the lyrics strain toward optimism...[but then] the subject sinks back into the throes of self-pity.” WK

The song first surfaced for Radiohead during the recording of their first album. According to bassist Colin Greenwood, Yorke wrote the song during his days at Exeter University in the late 1980s. During rehearsal, Yorke described it to the producers as “our Scott Walker song,” leading them to assume it was a cover. WK While it was original, its similarities to The Hollies’ “The Air That I Breathe” led to Albert Hammond and Mike Hazlewood, who wrote “Breathe,” receiving co-credit. WK


Resources and Related Links:

Wednesday, March 31, 1993

March 31, 1943: Oklahoma! debuted on Broadway

Originally posted June 28, 2010. Last updated September 3, 2018.

Oklahoma! (cast/soundtrack)

Richard Rodgers/Oscar Hammerstein II (composers)

Opened on Broadway: March 31, 1943

Cast Album Recorded: October 20, 1943 to May 24, 1944

Cast Album Released: December 4, 1944

Soundtrack Released: August 1, 1955

Sales (in millions):
US: 3.0 c, 2.0 s
UK: --
IFPI: --
World (estimated): 5.0 c+s

US: 4 C, 18-S
UK: 13-S
Canada: --
Australia: --

Quotable: “Often called Broadway’s greatest ever” – Joel Whitburn, Pop Memories 1890-1954

Genre: show tunes

Album Tracks – Cast Album:

  1. Overture
  2. Oh, What a Beautiful Morning (ALFRED DRAKE)
  3. The Surrey with the Fringe on Top (ALFRED DRAKE)
  4. Kansas City (LEE DIXON/ MALE CHORUS)
  5. I Cain’t Say No (CELESTE HOLM)
  6. Many a New Day (JOAN ROBERTS)
  7. It’s a Scandal! It’s a Outrage! (JOSEPH BULOFF) *
  8. People Will Say We’re in Love (ALFRED DRAKE/ JOAN ROBERTS)
  10. Lonely Room (ALFRED DRAKE) *
  11. Out of My Dreams (JOAN ROBERTS)
  12. The Farmer and the Cowman (BETTY GARDE/ RALPH RIGGS)
  13. All Er Nothin’ (LEE DIXON/ CELESTE HOLM)
  14. Oklahoma! (ALFRED DRAKE)
* Songs not on soundtrack version.

Album Tracks – Soundtrack:

  1. Overture
  2. Oh, What a Beautiful Morning (ALFRED DRAKE/ GORDON MacRAE)
  3. The Surrey with the Fringe on Top (ALFRED DRAKE/ GORDON MacRAE/ SHIRLEY JONES)
  7. People Will Say We’re in Love (GORDON MacRAE/ SHIRLEY JONES)
  8. Pore Jud Is Daid (GORDON MacRAE/ ROD STEIGER)
  9. Out of My Dreams (SHIRLEY JONES)
  10. The Farmer and the Cowman (GORDON MacRAE/ CHARLOTTE GREENWOOD)

Singles/Hit Songs:

People Will Say We’re in Love
Bing Crosby (1943) #2
Frank Sinatra (1943) #3
Hal Goodman (1943) #11

Oh, What a Beautiful Mornin’
Frank Sinatra (1943) #12
Bing Crosby (1944) #4

The Surrey with the Fringe on Top
Alfred Drake (1944) #22

As was common in the pre-rock era, multiple versions of a single song from a Broadway show would become hits. All chart positions are from the U.S. Billboard pop charts.


“The Broadway opening of Oklahoma! in 1943 is remembered as a landmark in American musical theater. The show was the first written by the team of composer Richard Rodgers and lyricist/librettist Oscar Hammerstein II, though both were theater veterans. Rodgers & Hammerstein turned out an exuberant, tuneful score in which all the songs grew out of the characters and the situations, an unusual approach in musical theater, where songs often had little relationship to the action. The point was made right at the start, when the choral number that opened most musicals was eschewed in favor of an off-stage leading man coming on and singing Oh, What a Beautiful Mornin’.” RC

“It ran over five years, becoming the longest running musical in Broadway history up to its time. The score threw off several hits and standards, including ‘Oh, What a Beautiful Mornin’,’ The Surrey with the Fringe on Top, People Will Say We’re in Love, and the stirring title tune.” RC

Oklahoma! “also made history as the first album…to become a major chart hit, and the first significant original-cast album.” JW “Although there had been a tradition of recording music from stage works in their original form with the stage performers in Great Britain, such recordings were only occasional in the U.S., and the idea of putting together an album of several 78 rpm records containing a show’s major songs as performed on-stage was relatively new. On the day that Oklahoma! opened, the American record industry was closed down by a musicians strike but shortly after Decca Records settled with the union, company president Jack Kapp brought the Oklahoma! principals together in the recording studio and cut 12 of the show’s songs…The result…was a commercial smash that forever changed the record business and led to the domination of record sales by the cast and soundtrack albums for the next 20 years.” RC

It would more than a dozen years after the Broadway debut before the movie version emerged. Rodgers and Hammerstein were giving enough power over the production that they “assured that it would be more faithful than most Hollywood treatments. Only two songs, Lonely Room and It’s a Scandal! It’s a Outrage!, were excised from the stage show for the two-and-a-half-hour film, for which conductor Jay Blackton and Robert Russell Bennett's orchestrations were retained.” RS

“The casting responded more to musical values than to box office clout, with Gordon MacRae, best known for several cinematic pairings with Doris Day, taking the male lead role of Curly and 20-year-old Shirley Jones, a Rodgers and Hammerstein discovery, making her film debut as Laurey, the female lead. The two, along with Gloria Grahame in the showcase role of lusty Ado Annie, brought a vocal assurance to their singing that allowed them to be intimate and conversational, giving detail to an otherwise lavish (and possibly oversized) production.” RS

“These qualities come off especially well on the soundtrack album, as do Bennett’s arrangements, which really shine in the stereo separation denied them on the original Broadway cast album. The result is an outstanding rendering of the score that gives it a bigger, broader interpretation and has continued to sound impressive over the decades, which may be one reason why the album, which topped the charts upon release and sold more than two million copies, has remained in print continually since it first appeared.” RS

Review Sources:
  • RC William Ruhlmann, All Music Guide (review of cast album)
  • RS William Ruhlmann, All Music Guide (review of soundtrack)
  • JW Joel Whitburn (1986). Pop Memories 1890-1954 (page 341). Record Research: Menomonee Falls, WI.


Related DMDB Link(s):