Mark Pritchard Discusses ‘Grand Stories’

Despite Radiohead’s break, Thom Yorke has been quite active in the studio — he’s put out three acclaimed albums with the Smile and recently released the impressive Tall Tales, a long-awaited partnership with seasoned electronic producer Mark Pritchard.

In the latest episode of Rolling Stone Music Now, Pritchard discusses the extensive process behind creating Tall Tales with Yorke, which features a stunning “visual experience” designed by artist Jonathan Zawada. To catch the full episode, go here for your preferred podcast platform, tune in on Apple Podcasts or Spotify, or simply press play above. Here are some key moments from the conversation:

The collaboration took root over a decade ago when Radiohead visited Sydney, Australia. “We all went out for dinner,” Pritchard shares. “During dinner, I asked, ‘Would you be interested in collaborating if I sent you some music someday?’ To which he replied, ‘Sure, just send me whatever you want. I’d love to work on something.’”

The lockdown during the pandemic created the perfect moment for creativity when Yorke reached out in 2020. “A few months into the pandemic,” recounts Pritchard, “Thom reached out via email, stating, ‘I hope you’re doing okay amidst all this craziness. I’m stuck at home and can’t go out. If you have any music, please send it my way.’ I sent him a folder with around 20 ideas, and he replied that night, asking, ‘Can I please work on this one?’ A few days later, he followed up with, ‘Can I tackle these 14 pieces?’”

Yorke explored fresh vocal techniques, including a Bob Dylan-inspired deep register. “One of the first demos he sent was ‘Men Who Dance in Stags’ Heads,’” Pritchard explains. “Thom ventured into that Bob Dylan low-vocal territory, which was surprising to me. He mentioned he always wanted to try it but hadn’t found the right method until now. He discovered a trick with vari-speeding the audio that helped him embody the character needed for those vocals.”

For “The Spirit,” Yorke provided an intriguing musical reference — a reggae classic from 1979. “He sent me a track by Janet Kay called ‘Silly Games,’ which was a hit in the U.K.,” Pritchard recalls. “It even appeared on Top of the Pops. It’s a reggae tune with a stunning vocal performance. He explained, ‘This isn’t quite like that reggae song, but there’s an essence in it and a lot of that music from that time. It carries a sense of hopefulness and optimism that we need in this song.’ Once I listened to it, I understood exactly what he meant.”

The track “Happy Days” was particularly challenging, showcasing Yorke’s most adventurous vocal experiments. “Thom delivered his most daring vocals on this track. When I first heard what he did, I thought, ‘This is crazy.’ We struggled to figure out how to make it work,” Pritchard laughs. “It starts with a vocal that sounds like an articulate female announcer from the Sixties, then transitions to a more punky vibe in the middle. Pulling off such a range requires a bold approach.”

Pritchard incorporated unconventional instruments, such as a Seventies Mattel Bee Gees toy synthesizer on “Gangsters.” “It has maybe a single octave and three bass presets,” he describes. “Kraftwerk used it for ‘Pocket Calculator,’ if I remember right, especially in live performances. They added tin foil to make it look cooler. I didn’t use the electronic beeps, just the bass preset, which is essentially one note. I manipulated it in Melodyne, shifting the key up and down.”

The collaborative process involved constant negotiation and compromise between the two artists. “There was no nonsense throughout the entire process,” Pritchard remarks. “We found ourselves debating quite a bit; both of us had differing views. Sometimes he was correct, sometimes I was, but it always revolved around figuring out how to make it work for the greater good. He’s a straight shooter, and we trusted each other right from the start.”

Pritchard is open to the idea of performing this material live, despite his apprehension about being on stage. When Yorke proposed that he join him on his recent solo tour, Pritchard admits, “I felt a bit uneasy about performing since I’m not accustomed to being in front of an audience. After witnessing his performance and the range he exhibited live, I told him, ‘If you’re game, I’m keen to do it.’ I truly believe it can be accomplished.”

Yorke hasn’t disclosed any updates about the current status of Radiohead. “He certainly keeps that information to himself, probably for good reason,” Pritchard mentions. “But they did get together last year for a jam session, which is promising. If they were at odds, that situation wouldn’t have occurred… I get the sense that if it’s meant to be, it will happen when the timing is right.”

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