Loading AI tools
1992 single by Radiohead From Wikipedia, the free encyclopedia
"Creep" is the debut single by the English rock band Radiohead, released on 21 September 1992 by EMI. It was included as the second track of Radiohead's debut album, Pablo Honey (1993). It features "blasts" of guitar noise by Jonny Greenwood and lyrics describing an obsessive unrequited attraction.
| "Creep" | ||||
|---|---|---|---|---|
1993 EP reissue | ||||
| Single by Radiohead | ||||
| from the album Pablo Honey | ||||
| Released | 21 September 1992 | |||
| Recorded | 1992 | |||
| Studio | Chipping Norton (Oxfordshire, England) | |||
| Genre | ||||
| Length |
| |||
| Label | ||||
| Composer(s) |
| |||
| Lyricist(s) | Thom Yorke | |||
| Producer(s) | ||||
| Radiohead singles chronology | ||||
| ||||
| Music video | ||||
| "Creep" on YouTube | ||||
Radiohead had not planned to release "Creep", and recorded it at the suggestion of the producers, Sean Slade and Paul Q. Kolderie, while they were working on other songs. They took elements from the 1972 song "The Air That I Breathe" by Albert Hammond and Mike Hazlewood. Following legal action, Hammond and Hazlewood were credited as co-writers.
Kolderie convinced EMI to release "Creep" as a single. It was initially unsuccessful, but achieved radio play in Israel and became popular on American alternative rock radio. It was reissued in 1993 and became an international hit, likened to alt-rock "slacker anthems" such as "Smells Like Teen Spirit" by Nirvana and "Loser" by Beck. Reviews of "Creep" were mostly positive.
EMI pressured Radiohead to match the success, which created tension during the recording of their second album, The Bends (1995). Radiohead departed from the style of "Creep" and grew weary of it, feeling it set narrow expectations of their music, and did not perform it for several years. Though they achieved greater commercial and critical success with later albums, "Creep" remains Radiohead's most successful single. It was named one of the greatest debut singles and one of the greatest songs by Rolling Stone. In 2021, the singer, Thom Yorke, released a remixed version with synthesisers and time-stretched acoustic guitar.
Radiohead formed in Oxfordshire in 1985[3] and signed a record contract with EMI in 1991.[4] Their 1992 debut, the Drill EP, drew little attention.[5] For their debut single, Radiohead hired the producers Sean Slade and Paul Q. Kolderie and recorded at Chipping Norton Recording Studios in Chipping Norton, Oxfordshire.[6] They worked on the songs "Inside My Head" and "Lurgee", but without results.[6]
Between rehearsals, Radiohead spontaneously performed another song, "Creep", which the singer, Thom Yorke, had written at the University of Exeter in the late 1980s.[7] Yorke jokingly described it as their "Scott Walker song", which the producers misinterpreted. As they left the studio that night, Slade told Kolderie, "Too bad their best song's a cover."[6]
After further recording sessions failed to produce results, Kolderie suggested Radiohead perform "Creep". After the first take, everyone in the studio burst into applause.[6] Radiohead did not know they were being recorded; according to the drummer, Philip Selway, "The reason it sounds so powerful is because it’s completely unselfconscious."[8]
After Radiohead assured Kolderie that "Creep" was an original song, he called EMI and convinced them to release it as the single.[6] According to Kolderie, "Everyone [at EMI] who heard 'Creep' just started going insane."[6] Slade and Kolderie suggested that the lead guitarist, Jonny Greenwood, record a piano part.[9] While mixing the song, Kolderie forgot to add the piano until the outro, but the band approved of the result.[10]
According to the critic Alex Ross, "Creep" has "obsessive" lyrics that depict the "self-lacerating rage" of an unrequited attraction.[4] Greenwood said the lyrics were inspired by a woman who Yorke had "followed for a couple of days", and who unexpectedly attended a Radiohead performance.[11] John Harris, then the Oxford correspondent for Melody Maker, said "Creep" was about a girl who frequented the upmarket Little Clarendon Street in Oxford. According to Harris, Yorke preferred the more bohemian Jericho, and expressed his discomfort using the lines "What the hell am I doing here / I don't belong here".[6]
Asked if the lyrics were inspired by a real person who made him feel like a "creep", Yorke said: "Yeah. It was a pretty strange period in my life. When I was at college and stuff and I was really fucked up and wanted to leave and do proper things with my life like be in a rock band."[12] Yorke said he was not happy with the lyrics, and thought they were "pretty crap".[13] Asked about "Creep" in 1993, Yorke said: "I have a real problem being a man in the '90s... Any man with any sensitivity or conscience toward the opposite sex would have a problem. To actually assert yourself in a masculine way without looking like you're in a hard-rock band is a very difficult thing to do... It comes back to the music we write, which is not effeminate, but it's not brutal in its arrogance. It is one of the things I'm always trying: to assert a sexual persona and on the other hand trying desperately to negate it."[14] Greenwood said "Creep" was in fact a happy song about "recognising what you are".[11]
Radiohead recorded a censored version of "Creep" for radio, which replaces the line "so fucking special" with "so very special". Radiohead worried that issuing a censored version would be selling out, but decided it was acceptable since their idols Sonic Youth had done the same thing; nonetheless, Greenwood said the British press "weren't impressed".[11] During the recording session for the censored lyrics, Kolderie convinced Yorke to rewrite the first verse, saying he thought Yorke could do better.[15]
![Thumb](#/media/File:Radiohead_"Creep"_ostinato.png)
Like many Radiohead songs, "Creep" uses pivot notes, creating a "bittersweet, doomy" feeling.[4] The G–B–C–Cm chord progression is repeated throughout, alternating between arpeggiated chords in the verses and last chorus and distorted power chords during the first two choruses. In G major, these may be interpreted as "I–V7/vi–IV–iv".[16]
According to Guy Capuzzo, the ostinato mirrors the lyrics. For example, the "highest pitches of the ostinato form a prominent chromatic line that 'creeps' up, then down, involving scale degrees – ♯– – ♭....[while] ascend[ing], the lyrics strain towards optimism... Descend[ing], the subject sinks back into the throes of self-pity ... The guitarist's fretting hand mirrors this contour."[17]
The middle eight originally featured a guitar solo from Greenwood. When the guitarist Ed O'Brien pointed out that the chord progression was the same as the 1972 song "The Air That I Breathe", Yorke wrote a new middle eight using the same vocal melody. According to Greenwood, "It was funny to us in a way, sort of feeding something like that into [it]. It's a bit of change."[18]
When the song shifts from the verse to the chorus, Jonny Greenwood plays three blasts of guitar noise ("dead notes" played by releasing fret-hand pressure and picking the strings).[11] Greenwood said he did this because he did not like how quiet the song was, and so "I hit the guitar hard—really hard".[11] O'Brien said: "That's the sound of Jonny trying to fuck the song up. He really didn't like it the first time we played it, so he tried spoiling it. And it made the song."[19] Yorke said the sound was like the song was "slashing its wrists. Halfway through the song it suddenly starts killing itself off, which is the whole point of the song really. It's a real self-destruct song, there's a real self-destruction ethic in a lot of the things we do onstage."[12] The producers boosted the sound so "it punched you in the face".[8] According to the Guardian critic Alexis Petridis, "Creep" has an "almost complete lack of resemblance" to Radiohead's later music.[20]
The "Creep" music video was filmed at the Venue, Oxford. For the video, Radiohead performed a free short concert, playing "Creep" several times. They donated proceeds from audience members to the Oxford magazine Curfew, which had covered their early work.[21] In the audience was the electronic musician Four Tet, then a teenager, who years later supported Radiohead on tour and collaborated with Yorke.[22]
Having a big hit like that wasn't in the game plan. We were giddy ... The first tour we sold out, and our American tour manager was going, "You know, I've toured with bands who have been doing this for seven, eight years, and this isn't usual." So it was really great on the one hand. But on the other hand we couldn't follow it up. The album had a couple of other songs that were OK, but we didn't have a body of work. We didn't know what we were doing.
EMI released "Creep" as a single on 21 September 1992.[24][25] BBC Radio 1 found it "too depressing" and excluded it from playlists.[26] It reached number 78 on the UK singles chart, selling 6,000 copies.[27] Asked about the poor response, Yorke said he was "absolutely horribly gutted, pissed off, self-righteous".[12] Radiohead's follow-up singles "Anyone Can Play Guitar" and "Pop Is Dead" were also unsuccessful.[26][28]
In late 1992, the Israeli DJ Yoav Kutner played "Creep" often on Israeli radio, having been introduced to it by an EMI representative, and it became a national hit. Radiohead quickly set up tour dates in Israel to capitalise on the success.[29][30] "Creep" had similar success in New Zealand, Spain, and Scandinavia.[31] In the US, "Creep" became an underground hit in California after it was added to an alternative rock radio playlist in San Francisco.[7][32] A censored version was released to radio stations.[7]
"Creep" was included on Radiohead's debut album, Pablo Honey, released on 22 February 1993.[6] By mid-1993, it had become a hit in America, a "slacker anthem" in the vein of "Smells Like Teen Spirit" by Nirvana and "Loser" by Beck.[7] Radiohead were surprised by the success; Yorke told Melody Maker in 1993 that many journalists misunderstood it, asking him if it was a joke.[26] In September 1993, Radiohead performed "Creep" on Late Night with Conan O'Brien as the show's first musical guests.[33]
Radiohead did not want to reissue "Creep" in the UK, but relented following pressure from the music press, EMI and fans.[34] The reissue was released in the UK on 6 September 1993 and reached number seven, promoted with an appearance on the music programme Top of the Pops.[35] In the US, "Creep" was aided by its appearance in a 1994 episode of the MTV animated series Beavis and Butt-Head. Capitol, Radiohead's US label, used the endorsement in a marketing campaign with the slogan "Beavis and Butt-Head say [Radiohead] don't suck".[8] An acoustic version of "Creep", taken from a live performance on KROQ-FM on 13 July 1993, was included on Radiohead's 1994 EP My Iron Lung.[36]
In June 2008, "Creep" re-entered the UK singles chart at number 37 after its inclusion on Radiohead: The Best Of.[37] As of April 2019, in the UK, it was the most streamed song released in 1992, with 10.1 million streams.[38] On 23 April 2024, "Creep" surpassed 1 billion views on YouTube.[39] It remains Radiohead's most successful single.[40]
Reviewing "Creep" for Melody Maker in September 1992, Sharon O'Connell described it as "a stormer, a perfect monster of a malevolent pop song ... Like all the best pop, it gently strokes the nape of your neck before it digs the bread knife in. Aggression is rarely this delicious."[41] Larry Flick of Billboard wrote: "Minimal cut, boosted with just a touch of noise, relies mainly on an appropriately languid, melodic vocal (which also vaults into Bono-esque falsetto range) to pull the whole thing together. A possible spinner for alternative and college radio."[42]
Troy J. Augusto from Cash Box described it as a song "for all those of the post-pimple set who just can't find their way in this big ol' world. Vocalist Thom Yorke is our too-self-aware hero who won't let a little disillusionment keep him down. Song's hook is the razor-sharp guitar play that frames Yorke's gnashing of teeth."[43] Marisa Fox of Entertainment Weekly wrote that "Creep" was "the ultimate neurotic teen anthem", marrying the self-consciousness of the Smiths, the vocals and guitar of U2, and the "heavy but crunchy pop" of the Cure.[44] A reviewer from People called it a "startling pop song" and a "gripping descent into love's dark regrets".[45]
When "Creep" was reissued in the UK in September 1993, the Melody Maker critic Simon Price named "Creep" Single of the Week.[46] Martin Aston from Music Week gave it four out of five, describing it as "stunning".[47] Tom Doyle from Smash Hits also gave it four out of five and named it Best New Single, praising the lyrics, "crunching guitar" and "delirious" chorus.[48] Edwin Pouncey of NME named "Creep" Reissue of the Week and wrote that it had "clout, class and truth proudly branded on its forearm".[49]
According to the journalist Alex Ross in 2001, "What set 'Creep' apart from the grunge of the early nineties was the grandeur of its chords—in particular, its regal turn from G major to B major. No matter how many times you hear the song, the second chord still sails beautifully out of the blue. The lyrics may be saying, 'I'm a creep,' but the music is saying, 'I am majestic.'"[4] Stephen Thomas Erlewine wrote in 2001 that "Creep" achieved "a rare power that is both visceral and intelligent".[50]
In 2007, VH1 ranked "Creep" the 31st-greatest song of the 1990s.[51] In 2020, Rolling Stone named it the 16th-greatest debut single; the journalist Andy Greene noted that though Radiohead had followed "Creep" with "some of the most innovative and acclaimed music of the past 30 years", it remained their most famous song.[52] In the same year, The Guardian named "Creep" the 34th-greatest Radiohead song.[40] Rolling Stone named "Creep" number 118 in its list of the 500 greatest songs in both 2021 and 2024.[53][54]
Following the release of Pablo Honey, Radiohead spent two years touring in support of Belly, PJ Harvey and James.[6] They performed "Creep" at every show, and came to resent it. O'Brien recalled: "We seemed to be living out the same four and a half minutes of our lives over and over again. It was incredibly stultifying."[8] Yorke told Rolling Stone in 1993: "It's like it's not our song any more ... It feels like we're doing a cover."[55] During Radiohead's first American tour, audience members would scream for "Creep", then leave after it was performed.[7] Yorke said the success "gagged" them and almost caused them to break up; they felt they were being judged on a single song.[8] Radiohead were determined to move on rather than "repeat that small moment of [our] lives forevermore".[8]
The success of "Creep" meant that Radiohead were not in debt to EMI, and so had more freedom on their next album, The Bends (1995).[23] The album title, a term for decompression sickness, references Radiohead's rapid rise to fame with "Creep"; Yorke said "we just came up too fast".[56] John Leckie, who produced The Bends, recalled that EMI hoped for a single "even better" than "Creep" but that Radiohead "didn't even know what was good about it in the first place".[57] Radiohead wrote the Bends song "My Iron Lung" in response, with the lines: "This is our new song / just like the last one / a total waste of time".[8] Yorke said in 1995: "People have defined our emotional range with that one song, 'Creep'. I saw reviews of 'My Iron Lung' that said it was just like 'Creep'. When you're up against things like that, it's like: 'Fuck you.' These people are never going to listen."[58]
In January 1996, Radiohead surpassed the UK chart performance of "Creep" with the Bends single "Street Spirit", which reached number five.[59] This, alongside the critical success of The Bends, established that Radiohead were not one-hit wonders.[8][60][61] Over the following years, Radiohead departed further from the style of "Creep".[20] During the promotion for their third album, OK Computer (1997), Yorke became hostile when "Creep" was mentioned in interviews and refused requests to play it, telling a Montréal audience: "Fuck off, we're tired of it."[62] He dismissed fans demanding it as "anally retarded".[62] After the tour, Radiohead did not perform "Creep" until the encore of their 2001 homecoming concert at South Park, Oxford, when an equipment failure halted a performance of another song.[63]
In a surprise move, Radiohead performed "Creep" as the opening song of their headline performance at the 2009 Reading Festival.[64] They did not perform it again until their 2016 tour for A Moon Shaped Pool, when a fan spent the majority of a concert shouting for it. Radiohead decided to play it to "see what the reaction is, just to see how it feels".[65] They performed "Creep" again during the encore of their headline performance at the Glastonbury Festival that year.[20] According to the Guardian critic Alexis Petridis, "Given Radiohead's famously fractious relationship with their first big hit ... the performance of 'Creep' [was] greeted with something approaching astonished delight."[20] In 2020, the Guardian critic Jazz Monroe wrote: "In the end, the band's disavowal of the song sent its credibility full circle. Nowadays, 'Creep' is a joke, but we're all blissfully in on it."[40]
In 2017, O'Brien said: "It's nice to play for the right reasons. People like it and want to hear it. We do err towards not playing it because you don't want it to feel like show business."[66] In the same interview, Yorke said: "It can be cool sometimes, but other times I want to stop halfway through and be like, 'Nah, this isn't happening'."[66] In a 2020 interview, O'Brien was dismissive of Pablo Honey but cited "Creep" as the "standout track".[67] In 2023, Yorke said that his vocal range had dropped with age and that he found "Creep" difficult to sing.[68]
In July 2021, Yorke released "Creep (Very 2021 Rmx)", a remixed version of "Creep". The remix is based on a time-stretched version of the acoustic version of "Creep", extending it to nine minutes, with "eerie" synthesisers.[69] Yorke contributed the remix to a show by the Japanese fashion designer Jun Takahashi, who provided artwork and an animated music video.[69] Vogue described the remix as "haunting and spare",[70] and Classic Rock described it as "woozy" and "discombobulating".[71] Rolling Stone said it was a fitting track for the COVID-19 pandemic, when "a sense of time is warped and singular moments can seem both fleeting and drawn out simultaneously".[72]
In April 2008, the American musician Prince covered "Creep" at the Coachella Valley Music and Arts Festival. A bootleg recording was shared online, but removed at Prince's request. After being informed of the situation in an interview, Yorke said: "Well, tell him to unblock it. It's our song."[73][74] In 2011, the Canadian actor Jim Carrey covered "Creep" at Arlene's Grocery in New York City.[75] Pentatonix covered "Creep" on The Masked Singer, and released a studio version the night after their unmasking.[76] Other artists who have covered "Creep" include Postmodern Jukebox,[77] Korn,[78] Weezer,[78] Damien Rice,[78] Amanda Palmer,[78] Moby,[78] the Pretenders,[78] Kelly Clarkson,[78] Arlo Parks,[79] Olivia Rodrigo,[80] and Ernest.[81]
A cover by the choir group the Scala & Kolacny Brothers was used in the trailer for the 2010 film The Social Network, creating a trend for trailers using eerie, slowed-down versions of pop songs.[82] A version sung by Diego Luna appears in the 2014 animated film The Book of Life. According to the director, Jorge Gutierrez, Radiohead told him: "For the first time ever, the way I'm using the song is exactly how it's supposed to be used. They said it's for a teenager who feels like he doesn't fit in."[83]
The chord progression and melody in "Creep" are similar to those of the 1972 song "The Air That I Breathe", written by Albert Hammond and Mike Hazlewood.[84] After Rondor Music, the publisher of "The Air That I Breathe", took legal action, Hammond and Hazlewood received cowriting credits and a percentage of the royalties. Hammond said Radiohead were honest about having reused the composition, and so he and Hazlewood accepted only a small part of the royalties.[85]
In January 2018, the American singer Lana Del Rey said on Twitter that Radiohead were taking legal action against her for allegedly plagiarising "Creep" on her 2017 track "Get Free", and had asked for 100% of publishing royalties instead of Del Rey's offer of 40%. She denied that "Creep" had inspired "Get Free".[86] Radiohead's publisher, Warner Chappell Music, confirmed it was seeking songwriting credits for "all writers" of "Creep", but denied that a lawsuit had been brought or that Radiohead had demanded 100% of royalties.[87] In March, Del Rey told an audience: "My lawsuit's over, I guess I can sing that song any time I want."[88] The writing credits for "Get Free" were not updated on the database of the American Society of Composers, Authors, and Publishers.[88]
All tracks are written by Radiohead.[a]
|
|
Adapted from the original release liner notes,[91] except where noted:
Radiohead
Technical
Artwork
Weekly charts
|
Year-end charts
|
| Region | Certification | Certified units/sales |
|---|---|---|
| Australia (ARIA)[141] | Gold | 35,000^ |
| Canada (Music Canada)[142] | 7× Platinum | 560,000‡ |
| Denmark (IFPI Danmark)[143] | Platinum | 90,000‡ |
| Italy (FIMI)[144] | 3× Platinum | 300,000‡ |
| New Zealand (RMNZ)[145] | 3× Platinum | 90,000‡ |
| Portugal (AFP)[146] | 3× Platinum | 120,000‡ |
| Spain (PROMUSICAE)[147] | 2× Platinum | 120,000‡ |
| United Kingdom (BPI)[148] | 3× Platinum | 1,800,000‡ |
| Streaming | ||
| Chile (Profovi)[149] | Gold | 13,000,000[149] |
|
^ Shipments figures based on certification alone. | ||
Seamless Wikipedia browsing. On steroids.
Every time you click a link to Wikipedia, Wiktionary or Wikiquote in your browser's search results, it will show the modern Wikiwand interface.
Wikiwand extension is a five stars, simple, with minimum permission required to keep your browsing private, safe and transparent.
