Editing Amnesiac (album) (section)

=== Tracks ===
[[File:Humphrey Lyttelton blowing his trumpet.jpg|thumb|349x349px|The jazz trumpeter [[Humphrey Lyttelton]] (pictured 2006) and his band performed on "Life in a Glasshouse".|alt=]]"Pulk/Pull Revolving Doors" began as an attempt to record another song, "[[True Love Waits (song)|True Love Waits]]".<ref name="Reed-2021" /> It features keyboard loops recorded during the ''OK Computer'' sessions;<ref name="Reed-2021">{{Cite web|last=Reed|first=Ryan|date=28 September 2021|title=In limbo: a primer for Radiohead's unheard ''Kid A Mnesia'' songs|url=https://ultimateclassicrock.com/radiohead-kid-a-mnesia-songs/|access-date=2022-01-13|website=[[Ultimate Classic Rock]]|language=en}}</ref> Radiohead disabled the [[Tape head|erase heads]] on the tape recorders so that the tape repeatedly recorded over itself, creating a "ghostly" [[tape loop]],<ref name="culturelab">{{cite web|last=Eshun|first=Kodwo|year=2002|title=The A-Z of Radiohead|url=http://www.culturelab.co.uk/site/templates/issue1/radioazitem_culturelab_noflash.html|archive-url=https://web.archive.org/web/20010703111201/http://www.culturelab.co.uk/site/templates/issue1/radioazitem_culturelab_noflash.html|archive-date=3 July 2001|access-date=1 April 2012|website=Culture Lab}}</ref> and manipulated the results in [[Pro Tools]].<ref>{{Cite web|last=Sterner|first=Daniel|date=2019|title=Talk: Thom Yorke|url=https://www.elektronauts.com/talk/134|access-date=2021-04-12|website=[[Elektron (company)|Elektronauts]]}}</ref> Deciding that the arrangement did not fit "True Love Waits", Radiohead used it to create a new track.<ref name="Reed-2021" /> Yorke added a spoken vocal and used the pitch-correcting software [[Auto-Tune]] to process it into melody. According to Yorke, Auto-Tune "desperately tries to search for the music in your speech, and produces notes at random. If you've assigned it a key, you've got music."<ref name="REYNOLDS" /> The "True Love Waits" version of "Pulk/Pull Revolving Doors" was eventually released on the 2021 compilation ''[[Kid A Mnesia]]''.<ref>{{cite web|last=DeVille|first=Chris|date=5 November 2021|title=Stream Radiohead's ''Kid Amnesiae'' featuring previously unreleased tracks from the ''Kid A'' & ''Amnesiac'' sessions|url=https://www.stereogum.com/2166235/radiohead-kid-amnesiae-previously-unreleased-tracks/music/|access-date=22 February 2022|website=[[Stereogum]]}}</ref> 

Radiohead also used Auto-Tune on "Packt Like Sardines in a Crushd Tin Box" to process Yorke's vocals and create a "nasal, depersonalised" sound.<ref name="REYNOLDS" /> For "You And Whose Army?", Radiohead attempted to capture the "soft, warm, proto-[[doowop]] sound" of the 1940s harmony group [[the Ink Spots]]. They muffled microphones with egg boxes and used the ondes Martenot's resonating ''palme diffuseur'' loudspeaker to treat the vocals.<ref name="REYNOLDS" /> Unlike many tracks from the sessions, the band recorded it live. The guitarist [[Ed O'Brien]] said: "We rehearsed it a bit, not too much, then just went in and did it. It's just us doing our thing as a band."<ref name="rolling_stone" />

According to a diary kept by O'Brien, "[[Knives Out (song)|Knives Out]]" took over a year to complete, as Radiohead had been tempted to over-embellish it.<ref name="DIARY">{{cite web |last=O'Brien |first=Ed |date=22 July 1999 |title=Ed's Diary |url=http://www.greenplastic.com/coldstorage/articles/edsdiary/index.php |url-status=usurped |archive-url=https://web.archive.org/web/20070413133839/http://www.greenplastic.com/coldstorage/articles/edsdiary/index.php |archive-date=13 April 2007 |access-date=19 May 2007 |df=dmy-all}}</ref> It was influenced by the guitar work of [[Johnny Marr]] of the [[The Smiths|Smiths]].<ref>''[[Mojo (magazine)|Mojo]]''. May 2004</ref> Yorke said "Knives Out" did not depart from Radiohead's earlier style, and "survived because it was too good to miss".<ref name="Tribune" /> "Dollars and Cents" was edited down from an eleven-minute [[musical improvisation|jam]], inspired by the [[krautrock]] band [[Can (band)|Can]], who would record extensively and then edit their recordings.<ref name="REYNOLDS" />

"Like Spinning Plates" was the result of an attempt to record another song, "I Will", on synthesiser.<ref>{{Cite journal |last=Robinson |first=John |date=10 May 2003 |title='Bagpuss, Ex-Lax and the angriest song we've ever written' |journal=[[NME]]}}</ref> Dismissing this recording as "dodgy [[Kraftwerk]]", Radiohead reversed it and created a new song. Yorke said: "I was in another room, heard the vocal melody coming backwards, and thought, 'That's miles better than the right way round', then spent the rest of the night trying to learn the melody."<ref name="REYNOLDS" /> Radiohead recorded "I Will" in a new arrangement for their next album, ''[[Hail to the Thief]]'' (2003).<ref>{{cite interview|title=Radiohead Hail to the Thief – Interview CD|year=2003}} Promotional interview CD sent to British music press.</ref>

For the final track, "Life in a Glasshouse", Jonny Greenwood wrote to the jazz trumpeter [[Humphrey Lyttelton]], explaining that Radiohead were "a bit stuck".<ref name="LYTTELTON">{{cite web|last=Reynolds |first=Simon |website=[[Q (magazine)|Q]] |date=April 2001 |access-date=27 March 2012 |title=Radiohead recruit new member |url=http://www.followmearound.com/presscuttings.php?year=2001&cutting=110 |url-status=dead |archive-url=https://web.archive.org/web/20101124151250/http://followmearound.com/presscuttings.php?year=2001&cutting=110 |archive-date=24 November 2010 }}</ref> Lyttelton agreed to perform on the song with his band after his daughter showed him Radiohead's 1997 album ''[[OK Computer]]''.<ref name="LYTTELTON" /> According to Lyttelton, Radiohead "didn't want it to sound like a slick studio production but a slightly exploratory thing of people playing as if they didn't have it all planned out in advance".<ref name="LYTTELTON" /> The recording session lasted seven hours, and left Lyttelton exhausted. "I detected some sort of eye-rolling at the start of the session, as if to say we were miles apart," he said. "They went through quite a few nervous breakdowns during the course of it all, just through trying to explain to us all what they wanted."<ref name="LYTTELTON" />