Nude

"Nude" is a complex exploration of vulnerability, cynicism, and the stripping away of ego. At its core, the song contrasts the beauty of human intimacy with a deeply pessimistic view of ambition and success. The title itself suggests a state of being completely exposed—not just physically, but emotionally and psychologically.

The central theme revolves around the futility of "big ideas"—a phrase that was the song's working title for nearly a decade. Thom Yorke's lyrics caution against having high hopes or aspirations ("Don't get any big ideas / They're not gonna happen"). This can be interpreted as a defense mechanism: by not hoping for more, one avoids the pain of disappointment. It serves as an anti-anthem to the typical rock trope of chasing dreams, suggesting instead that such pursuits often lead to emptiness.

The imagery of "painting yourself white" and "filling up with noise" critiques the masks people wear to appear virtuous or interesting. It speaks to the human condition of imposter syndrome—we curate versions of ourselves to be accepted, yet deep down, we feel "something missing." When the song warns, "You'll go to hell for what your dirty mind is thinking," it juxtaposes the heavenly, ethereal music with a sharp sense of religious or moral guilt, implying that our basest, most "nude" desires are inherently corrupt or doomed.

The song begins with a caution against ambition and hope, urging the listener—or perhaps the narrator themselves—to suppress grand aspirations because they are destined to fail. This warning sets a tone of resignation, suggesting that the pursuit of "big ideas" is futile.

As the narrative progresses, it describes a person attempting to mask their true self or their flaws. They "paint themselves white," a metaphor for trying to appear pure, innocent, or perhaps blank and featureless to fit in or hide. They fill their lives with "noise," representing distractions or shallow chatter used to silence an inner emptiness or truth. However, despite these efforts to curate a perfect facade, the narrator notes that there will always be "something missing." The act of covering up only highlights the void underneath.

The story then shifts to the consequence of achieving what one thought they wanted. The moment the desired object or feeling is found, it vanishes. The sensation of grasping it leads immediately to its loss, creating a cycle of perpetual dissatisfaction. This loss of control is described as going "off the rails," implying a mental or emotional derailment caused by the pressure of maintaining the illusion and the inevitable disappointment of reality.

Finally, the song concludes with a stark, cynical judgment. The narrator reiterates the warning to abandon big ideas, reinforcing the certainty of their failure. The closing thought is a condemnation, suggesting that the listener's internal desires—their "dirty mind"—are shameful and punishable. This leaves the character stripped of their pretenses, naked in their shame and human frailty, having gained nothing from their efforts but a sense of damned isolation.

The creation of "Nude" is one of the most famous sagas in Radiohead's history, spanning roughly 10 years. The song was originally written in the late 1990s during the sessions for OK Computer. At that time, it was known by the working title "Big Ideas (Don't Get Any)".

The band struggled immensely to record a studio version that satisfied them. Early versions were influenced by Al Green and featured a Hammond organ, having a straighter, more traditional R&B feel. Thom Yorke famously performed it solo on an acoustic guitar during the OK Computer tour in 1998 (notably in Tokyo), where it quickly became a fan favorite bootleg.

Radiohead attempted to record it again for Kid A (2000) and Hail to the Thief (2003) but repeatedly failed to capture the song's essence, often over-complicating the arrangement. Yorke once mentioned he considered giving the song to Elvis Costello because he felt he couldn't do it justice. The breakthrough finally came during the In Rainbows sessions (2005–2007). Bassist Colin Greenwood wrote a new, dub-inspired bassline that transformed the rhythm from a straight 4/4 to a swinging 6/8 feel. This rhythmic shift unlocked the song, allowing the band to strip back the instrumentation and let the haunting melody breathe, finally resulting in the version released in 2007.

Rhyme Scheme: The song does not follow a strict rhyme scheme, utilizing free verse with occasional slant rhymes (e.g., "white" / "noise" is not a rhyme, but "gone" / "wrong" or "don't" creates subtle assonance). This lack of rigid rhyming mirrors the song's theme of things falling apart or going "off the rails."

Rhythm and Meter: The track is set in a slow 6/8 time signature (or a slow 3/4 with a triplet feel). This compound meter creates a lulling, hypnotic sensation, often associated with lullabies or barcarolles. The interplay between the laid-back, delayed snare hits and the driving bassline gives the song a "drunk" or woozy feel, perfectly capturing the lyrical theme of disorientation and losing control. The rhythm feels liquid, refusing to settle into a hard rock groove, which enhances the ethereal, floating quality of the composition.

Musically and lyrically, "Nude" employs several distinct techniques:

• Musical Irony: The most defining technique is the contrast between the lush, heavenly instrumentation and the cynical, condemning lyrics. The music sounds like an ascension to heaven (ethereal strings, wordless choral vocals), while the lyrics speak of going to "hell" and failure.
• Falsetto Vocal Delivery: Thom Yorke sings the entire song in a fragile, high-pitched falsetto. This technique enhances the feeling of vulnerability and intimacy, making the cynical lyrics sound tender rather than aggressive.
• Rhythmic Swing: The song is in a compound meter (often notated as 6/8), giving it a swaying, waltz-like quality. This "swing" removes the rigidness of earlier versions, creating a fluid, dreamlike atmosphere.
• Minimalism and Space: Unlike the "wall of sound" on other Radiohead tracks, "Nude" uses space as an instrument. The bass is prominent and melodic, while the guitar and drums are restrained, allowing the Ondes Martenot and string arrangements to swell in the background without cluttering the mix.
• Reverse Reverb: The vocals often have a ghostly quality, achieved through production techniques like reverse reverb, adding to the disorienting, otherworldly feel.

"Nude" holds a special place in Radiohead's legacy as one of their most anticipated studio releases. For nearly a decade, it was the "holy grail" for hardcore fans who traded bootlegs of the 1998 live versions. Its release on In Rainbows was a moment of catharsis for the fanbase.

Chart Success: Surprisingly, "Nude" became Radiohead's first Billboard Hot 100 Top 40 hit since "Creep" (1993), peaking at number 37. This was largely due to a unique fan engagement contest where the band released the individual stems (separate tracks for bass, voice, drums, etc.) of the song for fans to purchase and remix. This democratized the song's production and flooded the internet with fan interpretations.

Legacy: The song is frequently cited by critics and musicians as a masterclass in restraint and arrangement. It demonstrated Radiohead's ability to evolve a song over many years rather than discarding it. It has been covered by various artists, including jazz musicians who are drawn to its complex harmonic structure, cementing its status as a modern standard in art rock.

The lyrics of "Nude" rely on stark, sensory metaphors to convey inner turmoil:

• "Big Ideas": Represents ambition, hope, or romantic idealism. The repeated dismissal of them symbolizes a depressive realism or a cynical protection against failure.
• "Paint yourself white": A symbol of whitewashing one's personality or creating a facade of purity and innocence. It suggests hiding one's "dirty" true nature behind a sterile, artificial exterior.
• "Fill up with noise": Represents the distractions of modern life or the ego's chatter used to drown out silence and insecurity. It implies that without this "noise," the person is empty.
• "Dirty mind" and "Hell": These religious metaphors reintroduce the concept of original sin or inherent guilt. In the context of a song called "Nude," they suggest that the naked human self is shameful and destined for punishment, contrasting sharply with the angelic sound of the music.
• The Title "Nude": Paradoxically, the song isn't explicitly about being naked physically. Instead, it symbolizes emotional nakedness—the state of being stripped of all "big ideas," pretensions, and defenses, leaving only the raw, vulnerable, and perhaps disappointing reality of the self.

The primary motif in the lyrics is the phrase "Don't get any big ideas / They're not gonna happen."

• Significance: This phrase bookends the song, serving as both the opening thesis and the closing verdict. Its repetition reinforces the inescapable nature of the song's cynicism. It acts as a mantra of self-defeat.
• Musical Motif: The vocal melody in the intro and outro (singing "Ooh") is a recurring melodic hook. It functions as a siren song—beautiful and alluring, drawing the listener in, only for the lyrics to deliver a harsh reality check.
• Bassline Hook: Colin Greenwood's bassline is a melodic motif in itself. It doesn't just support the harmony; it provides the song's counter-melody, recurring throughout the verses to ground the airy vocals.