If there’s any homeless person who deserves a moment in the spotlight, a huge royalty check, or even just a warm place to sleep, it’s Mustard, the homeless guy who came onto Opie and Anthony’s Sirius XM radio show to blow the minds of everyone in the building with a unique and extremely soulful rendition of Radiohead’s Creep.

I discovered this video on Reddit and a user who goes by ‘fingerrockets’ shed light on the backstory:

“I listen to the O&A show daily at work so I’ll give a little back story here. When they brought this guy on they had no idea he could sing. It was just going to be a radio bit promoting their upcoming “homeless shopping spree.” During the interview it came up that he has written some songs and could play guitar. So they went and got the man a guitar (he did not own one himself) and he proceeded to shock the hell out of everyone. No one expected him to be as good as he was. He played two other songs that he wrote that are kind of in the style of Dave Matthews or John Mayer, I would imagine that stuff will be online shortly.”

For the MP3 version of Radiohead’s Creep and for Mustard’s three other tracks, click here.

You’ll also like:

Dilbert’s Only Love Is The Intertubes — Babelgum

Christmas Carolers Get a Bit Dirty — Babelgum

Don’t Drink Too Much This Holiday Season… — WhenIWasDrunk

Gemma Atkinson Is A 10 (nsfw) — Gorillamask

If Video Games Were Realistic… — Cracked

How Can You Be Sure

In 1993, Frontman Thom York commented that the title of the track How Can You Be Sure? was tentative and that he planned to change it. Although he never officially made the change, when How Can You Be Sure was released on the first Japanese issue of The Bends, the song was called When I’m Like This.

Fans of Radiohead’s acoustic singles will love this track. The female background vocals in the second verse are performed by Dianne Swann, of the band The Julie Dolphine.

Banana Co.

The track Banana Co. first aired on an acoustic radio session Thom did in 1993 which after a warm reception was followed by a studio version that was released on the benefit compilation Criminal Justice: Axe the Act (also available as a B-side on the second part of the Street Spirit release).

If you’re familiar with the track, you most likely have heard the most popular acoustic version of Banana Co. found on the Austrailia/New Zealand Itch EP.

Blow Out (Remix)

Blow Out received its first wide release on Radiohead’s 1993 album Pablo Honey but the Remix was only made available on the 2nd release of the four track Creep record available in the UK.

While the differences are subtle, Blow Out (Remix) proved worthy enough to earn a spot next to the original on the 2009 Deluxe Edition of Pablo Honey.

Anyone Can Play Guitar

Anyone Can Play Guitar is a track from the band’s first album Pablo Honey which was released as a single just a few months in advance of the album on the 7″ US version of Creep.

The track failed to make an impression on charts but was a staple on Radiohead’s mid-nineties setlists. The track would also find a spot on the 2009 Deluxe Edition of Pablo Honey.

Thinking About You (Demo)

Thinking About You, which was released as an acoustic track on Pablo Honey, was originally recorded as an electric guitar driven track on the band’s second demo tape in 1991.

If the final acoustic version sounds primitive, the demo is prehistoric. The track is one of the least Radiohead-ish sounding songs available and can now be found on the 2009 Deluxe Edition of Pablo Honey.

Honorable Mention:

Stop Whispering US Version (Pablo Honey Deluxe)

Earthquake Survival Kit

SUMMER IS HERE, PART 86

Fahrenheit Audrina Partridge

6 News Items That’ll Make You Last Longer in Bed

Jodie Marsh Has Retarded Breasts of the Day

Top Cheerleader Scandals

Tour de France Rider Hits Sign, Snaps Bike In Two

Odd news story of the day

Celtics Making A Move On The Patriots’ Cheerleading Squad

The Show: Hooters

Worst Songs of ALL Time

Keg Stand Face-Plant

Extreme Tin Foil Wrapping Prank

In the past week or so I’ve written quite a bit on Radiohead and how I appreciate their online release of In Rainbows, but am disappointed that they still use Ticketmaster to sell show tickets. But in light of all of this, Prince takes down six videos of himself performing a cover of someone else’s song? Come on Prince, It’s not costing you album sales, so the case better be that you illegally performed Radiohead’s Creep without their permission. Is it that now you don’t want it to get out? I doubt it.

I have a feeling it’s the same corporate cockblock I mentioned earlier. Anything with you in it is copyright “infringement.” I’m not going to continue on, it’s just stupid that the paying public’s videos must be deleted. If anyone gets a working link to a stream of the video, send it to bannedinhollywood@gmail.com.

And in case someone does, I’ll leave my previous post below -

Over the weekend thousands of Southern Californians flooded to Coachella, one of the premiere live music shows to date, to see Roger Waters, Chromeo, My Morning Jacket, Autolux, Aphex Twin, The Verve, The Raconteurs, SebastiAn and Prince (among others; go away Jack Johnson). Little did fans know, they were about to see a guest appearance by the one and only Radiohead.

Only, fans weren’t really that lucky, because Radiohead didn’t actually show. Instead, Prince acted as a surrogate, harboring Radiohead’s baby, “Creep,” deep inside his melodious womb – and birthed it in an explosion of Creepy reverb and gain; part Radiohead, but also part Prince – A little angry, a bit depressed, slightly physically handicapped, and completely flamboyant.

It was clean and pretty bad@ss – Not too much excrement. Check it out.

Months before, my dick was on and my boner was happy because Radiohead released their album In Rainbows online, which was a huge dick in the @ss to the record industry, but when it came down to seeing them live (which is the best way to listen to music) they failed to FU©K Ticketmaster (which like the record industry, deserves a hard anal pounding). And maybe I’m just getting greedy, onset of course by the liberties Radiohead’s online album release allowed me, but at the same time, maybe it’s because Ticketmaster has been FU©KING their customer’s for the past 15 years. Why should we pay a $15 processing fee and a $5 convenience charge when printing, shipping, and handling all add up to less than $3?

Obviously Ticketmaster gets a large share of this money (if not all), and by Radiohead releasing their tickets to Ticketslave it is a step backwards in their attempt at freeing their fans from corporate musical cockblock. It almost seems contradicting – unless of course the In Rainbows release was strictly for monetary gain (which I like to think is not true).

We all know that if Radiohead had put their tickets up for sale solely through their website, they would have sold out in minutes. And if they put them on sale to newsletter subscribers only (which I don’t believe even exists, C’mon Radiohead) it may have taken them a day, but at least everyone would have been fans. True fans. Not the 38 year old, single moms who listen to Radiohead because they want to “feel young again (actually those types would be at Kanye),” it’s Bull$hit.

Where have real shows gone, and why can’t we enjoy at least one band that enjoys their fans more than the money they bring? Come on Thom – Do not let Ticketmaster control your fan’s (my) lives (or at least ability to see you guys). To countless people you are idols, and the fact that Ticketslave gets in the way of this encroaches on my ability to rock out with my cock out (which, naturally I love to do).

Next time, do it right Thom. Quit giving me Radioblueballs.