Radiohead Reissues Pablo Honey 3. The Bends 4. OK Computer 5. It certainly doesn’t feel like 12 years since OK Computer, an indication of the record’s continuing power and resonance, as well as, perhaps, the inability of Radiohead’s successors to move the game forward significantly.
Either way, the reissue of such a ubiquitous album hardly seems crucial right now. That is, unless you work for EMI. So far, their treatment of Radiohead’s back catalogue has resembled a jilted lover flogging their ex’s belongings on eBay, dripping bittersweet tears onto the address labels. First there was the hurriedly-assembled seven-album boxset and ridiculous USB stick.
Then came the less-than-essential Best Of. More recently, EMI announced plans to re-release every Radiohead single on 12” vinyl, an exercise that will surely only serve to point up the ugliness of most of the original artwork. However, it’s harder to condemn EMI kingpin Guy Hands and company for this latest batch of reissues. The label have only done what any sane copyright holder would do and whacked out the early albums with bonus discs corralling all the b-sides, plus selected BBC Radio sessions. There are no outtakes (so that studio version of “True Love Waits” remains at large) but thankfully no superfluous remasters either.
The ‘Special’ DVD editions may test your loyalty, featuring nothing more than the promo videos, a smattering of BBC TV appearances and the previously released footage from Radiohead Live At The Astoria in 1994. Otherwise, these reissues have been logically and sympathetically compiled. So to the music. 1993’s Pablo Honey isn’t as completely cack-handed as many would have you believe.
It’s lumpy and uneven and often sounds like a band pulling in five different directions – but that last quality was, and occasionally remains, part of Radiohead’s appeal. “You” is blaring and overtly tricksy but, as an opener, it’s pretty ambitious – less grunge-lite, more college prog.
Muse would later base an entire career on this kind of thing. “Creep”, however, still sounds like the runt of Radiohead’s litter: the over-bearing self-pity, those wheedling arpeggios even Jonny’s clink-clunk guitar spasms signposting the chorus now feel horribly mannered. If “Creep” was released today, we’d call it emo.
Radiohead would go on to release worse singles – the clunky music biz satires “Anyone Can Play Guitar” and “Pop Is Dead” are best swerved – but there are also plenty of better songs on Pablo Honey, even if they don’t seek attention so cravenly. “Vegetable”, for example, turns out to be a terrific, gnashing, power-pop smoulderer, while future obsessions with cultural alienation, suicide and TV as the opiate of the masses are all there in underrated debut single “Prove Yourself”: “Can’t afford to breathe in this town/ Nowhere to sit without a gun in my hand/ Hooked back up to the cathode ray/ I’m better off dead”. “Lurgee” may not be similarly indicative of any future direction but its diaphanous layers of Galaxie 500 guitar are enchanting all the same. Pablo Honey’s contemporaneous extra tracks are largely rubbish, save for the urgent, original version of “Prove Yourself” and a dreamy Verve-like number called “Coke Babies”. Serious Radiohead twitchers may nevertheless appreciate a session version of old On A Friday staple “Nothing Touches Me”. With hindsight, the ’90s music press analysis of a sudden epiphany occurring between Pablo Honey and The Bends seems like overstating the case.
Many of the musical and lyrical themes are similar but The Bends is simply more focused, better written, less anxious and allows Thom Yorke’s voice more room. “My Iron Lung” still cleaves to that quiet-loud-quiet dynamic, but the quiet bits are menacingly serene, the loud bits genuinely delirious. “High And Dry”, “Fake Plastic Trees” and “Bullet Proof ” witness the flourishing of a deft, restrained songwriting talent, while “Planet Telex” seamlessly introduces keyboards along with a sense of conflicted futurism that would prove the band’s rudder for a decade.
Whether or not you consider The Bends to be Radiohead’s first masterpiece probably hinges on whether you think “Street Spirit (Fade Out)” is an unbearably poignant meditation on death and the devil or a bleak cod-baroque dirge. Those in the latter camp are forewarned that there are two more versions of it on the second disc, but luckily The Bends’ b-sides overall are far more rewarding than Pablo Honey’s. They appreciably improve with time: forget anything from the “My Iron Lung” EP and skip straight to “Maquiladora”, a strident Smashing Pumpkins-style stadium rocker that was unlucky not to make the album.“How Can You Be Sure?” and “Talk Show Host” find Radiohead gaining in confidence, experimenting with rhythm and texture, sounding fluid, sultry even. Which brings us to OK Computer, still so ever-present on the rock landscape. And no wonder: existential angst has never been realised with such heart-rending potency, via a collection of awesomely supple and substantial songs that haven’t worn or dated one iota. There hasn’t been a better album released in the intervening 12 years. As before, the b-sides can be interpreted as portents of the future: claustrophobic affairs bathed in digital static, the band toying with programmed beats and dubby atmospherics.
“A Reminder” and “Meeting In The Aisle” are particularly dreamy (nightmarish?) and do a better job of elongating the Radiohead template than trip hop remixes by Fila Brazilia and producer Nigel Godrich’s mates Zero 7. Even more conventional songs such as “Polyethylene” and “Lull” offer fresh angles. Weirdly, however, the live and session tracks chosen for inclusion here sound a little lethargic. It’s a shame that EMI weren’t able to secure footage of the legendary 1997 Glastonbury performance, widely regarded as the moment Radiohead ascended to Olympus (even if, as the bootlegs suggest, you probably had to be there). Instead, OK Computer’s flimsy accompanying DVD offers three songs from a May ’97 Later With Jools Holland appearance – all utterly stunning, but you’re left feeling shortchanged.
OK Computer was such a towering achievement that its influence on British music was to prove a little bit suffocating. It made audiences so wary of rock artifice that our album charts became clogged with pained, earnest posh boys. Few of the bands who formed or gained lift-off as a direct result of hearing OK Computer – Coldplay, Editors, Elbow, Muse et al – have come close to emulating its wracked majesty.
At least Radiohead themselves would do their best to ensure that their next move was pretty much inimitable. SAM RICHARDS For more album reviews, for the UNCUT music archive.
. Website Members. Radiohead are an English band from, formed in 1985. The band consists of (vocals, guitar, piano, keyboards), brothers (lead guitar, keyboards, other instruments) and (bass), (guitar, backing vocals) and (drums, percussion).
They have worked with producer and cover artist since 1994. After signing to in 1991, Radiohead released their debut single ' in 1992. It became a worldwide hit after the release of their debut album, (1993). Their popularity and critical standing rose in the United Kingdom with the release of their second album, (1995).
Radiohead's third album, (1997), propelled them to international fame; noted for its complex production and themes of, it is often acclaimed as a landmark record of the 1990s and one of the best albums in popular music. The group's next albums (2000) and (2001), recorded simultaneously, marked a dramatic change in style, incorporating influences from experimental, and.
Kid A divided listeners but was named the best album of the decade by, and the. Radiohead's sixth album, (2003), mixed rock and electronic music with lyrics inspired by the, and was the band's final album for EMI. Their subsequent releases have pioneered alternative release platforms such as and; Radiohead self-released their seventh album, (2007), as a for which customers could set their own price, to critical and chart success. Their eighth album, (2011), an exploration of rhythm, was developed using extensive and. (2016) prominently featured Jonny Greenwood's orchestral arrangements.
Radiohead had sold more than 30 million albums worldwide by 2011. Their work places highly in both listener polls and critics' lists of the best music of the 1990s and 2000s. In 2005, they were ranked 73rd in 's list of 'The Greatest Artists of All Time'; Jonny Greenwood and O'Brien were both included in Rolling Stone 's list of greatest guitarists, and Yorke in their list of greatest singers. In 2009, Rolling Stone readers voted Radiohead the second-best artist of the 2000s.
In 2017, they were nominated for the, in their first year of eligibility. Abingdon School, where the band formed The members of Radiohead met while attending, an independent school for boys in. Guitarist and singer and bassist were in the same year, guitarist and drummer the year above, and multi-instrumentalist, brother of Colin, two years below. In 1985, they formed On a Friday, the name referring to the band's usual rehearsal day in the school's music room. Jonny was the last to join, first on harmonica and then keyboards, but soon became the lead guitarist; he had previously been in another band, Illiterate Hands, with musician and Yorke's brother. According to Colin, the band members picked their instruments because they wanted to play music together, rather than through an interest in the particular instrument: 'It was more of a collective angle, and if you could contribute by having someone else play your instrument, then that was really cool.' At one point, On a Friday featured a saxophone section.
The band disliked the school's strict atmosphere—the headmaster once charged them for using a rehearsal room on a Sunday—and found solace in the school's music department. They credited their music teacher for introducing them to, postwar, and. Oxfordshire and the had an active scene in the late 1980s, but it centred on bands such as and.
Advertisement placed in Oxford music magazine Curfew (now ) announcing On a Friday's change of name Although all but Jonny had left Abingdon by 1987 to attend university, On a Friday continued to rehearse on weekends and holidays. At the, Yorke played with the band Headless Chickens, performing songs including future Radiohead material, and met artist, who would later create artwork for the band. In 1991, On a Friday regrouped, sharing a house on the corner of Magdalen Road and Ridgefield Road, Oxford. As On a Friday continued to perform in Oxford, including more performances at the Jericho Tavern, record labels and producers became interested., Slowdive's producer and co-owner of Oxford's Courtyard Studios, attended an early On a Friday concert at the Jericho Tavern.
Impressed, he and his partner Bryce Edge produced a demo tape and became On a Friday's managers; they remain Radiohead's managers today. In late 1991, after a chance meeting between Colin and representative Keith Wozencroft at, the record shop where Colin worked, On a Friday band signed a six-album recording contract with EMI. At the label's request, the band changed their name; 'Radiohead' was taken from the song 'Radio Head' on the album (1986). 1992–1994: 'Creep', Pablo Honey and early success Radiohead recorded their debut release, the, with Chris Hufford and Bryce Edge at Courtyard Studios. Released in May 1992, its chart performance was poor. The band enlisted and, who had worked with US indie bands and, to their debut album, recorded quickly in an Oxford studio in 1992. With the release of the ' single later that year, Radiohead began to receive attention in the British music press, not all of it favourable; described them as 'a lily-livered excuse for a rock band', and 'Creep' was blacklisted by because it was deemed 'too depressing'.
Radiohead released their debut album, in February 1993. 3dxchat crack. It stalled at number 22 in the UK charts, as 'Creep' and its follow-up singles ' and ' failed to become hits. ', a non-album single, also sold poorly; O'Brien later called the track 'a hideous mistake'. Some critics compared the band's early style to the wave of music popular in the early 1990s, dubbing them '-lite', and Pablo Honey failed to make a critical or a commercial impact upon its initial release. Despite shared influences with popular guitar acts, and some notice for Yorke's, Radiohead toured only British universities and clubs. 'Creep' was Radiohead's first hit. This sample features Jonny Greenwood's before the chorus.
According to legend, the effects were an attempt to sabotage a song Greenwood initially disliked. Problems playing this file? In early 1993, Radiohead began to attract listeners elsewhere.
'Creep' had been played frequently on radio by influential DJ, and in March, after the song became a hit in that country, Radiohead were invited to for their first gig overseas. Around the same time, the San Francisco alternative radio station added 'Creep' to its playlist.
Soon other radio stations along the west coast of the United States followed suit. By the time Radiohead began their first North American tour in June 1993, the music video for 'Creep' was in heavy rotation on MTV.
The song rose to number two on the US chart, entered the lower reaches of the pop chart, and hit number seven in the when EMI rereleased it in the UK in September. Unexpected attention for the single in the US prompted EMI to improvise new promotional plans, and the band shuttled back and forth between continents, playing more than 150 concerts in 1993. Radiohead nearly broke up due to the pressure of sudden success as the Pablo Honey supporting tour extended into its second year.
The band members described the tour as difficult to adjust to, saying that towards its end they were 'still playing the same songs that they had recorded two years previously. Like being held in a time warp', when they were eager to work on new songs. 1994–1995: The Bends, critical recognition and growing fanbase Radiohead began work on their second album in 1994 with veteran producer. Tensions were high, with mounting expectations to match the success of 'Creep'. Recording felt unnatural in the studio, with the band having over-rehearsed the material.
Seeking a change of scenery, they toured the Far East, and Mexico and found greater confidence performing their new music live. However, troubled by his new fame, Yorke became disillusioned with being 'at the sharp end of the sexy, sassy, MTV eye-candy lifestyle' he felt he was helping to sell to the world.
The EP and single, released in 1994, was Radiohead's reaction, marking a transition towards the greater depth they aimed for on their second album. It was their first time working with their future producer, then working under Leckie as an. It was also Radiohead's first collaboration with artist, who has produced all of their artwork since.
Promoted through alternative radio stations, My Iron Lung's sales were better than expected, and suggested for the first time that the band had found a loyal fanbase and were not. Having introduced more new songs on tour, Radiohead finished recording their second album by year's end, and released in March 1995. The album was driven by dense riffs and ethereal atmospheres from the band's three guitarists, with greater use of keyboards than their debut. It received stronger reviews for its songwriting and performances.
While Radiohead were seen as outsiders to the scene that dominated music media at the time, they were finally successful in their home country with The Bends, as singles ', ', ', and ' made their way to chart success; 'Street Spirit' placed Radiohead in the top five for the first time. In 1995, Radiohead again toured North America and Europe, this time in support of, one of their formative influences and at the time one of the biggest rock bands in the world. The buzz generated by such famous fans as R.E.M. Singer, along with distinctive music videos for 'Just' and 'Street Spirit', helped to sustain Radiohead's popularity outside the UK. The night before a scheduled performance in Denver, Colorado, Radiohead's tour van was stolen, and with it their musical equipment. Yorke and Jonny Greenwood performed a stripped-down acoustic set with rented instruments, and several shows were canceled. In 2015, Greenwood was reunited with one of the stolen guitars after a fan recognised it as one they had purchased in Denver in the 1990s.
'High and Dry' became a modest hit, but Radiohead's growing fanbase was insufficient to repeat the worldwide success of 'Creep'. The Bends peaked at No. 88 on the US album charts, which remains Radiohead's lowest showing there. Nonetheless, Radiohead were satisfied with the album's reception. Jonny Greenwood said: 'I think the turning point for us came about nine or twelve months after The Bends was released and it started appearing in people's best of polls for the end of the year. That's when it started to feel like we made the right choice about being a band.'
In later years, The Bends appeared in many publications' lists of the best albums of all time, including 2012 edition of the at No. 1995–1998: OK Computer and critical acclaim By late 1995, Radiohead had already recorded one song that would appear on their next record.
', released as a single to promote the charity's, was recorded in a brief session with Nigel Godrich, the young audio engineer who had assisted on The Bends and produced a 1996, '. The band decided to self-produce their next album with Godrich, and began work in early 1996. By July they had recorded four songs at their rehearsal studio, Canned Applause, a converted apple shed in the countryside near, Oxfordshire. Bath, where Radiohead recorded OK Computer. In August 1996, Radiohead toured as the opening act for.
They resumed recording not at a studio but at, a 15th-century mansion near. The sessions were relaxed, with the band playing at all hours of the day, recording in different rooms, and listening to the, and for inspiration. Radiohead released their third album, in June 1997.
The album found the band experimenting with song structures and incorporating, and influences, prompting to call the album a 'stunning art-rock tour de force'. Radiohead denied being part of the genre, but critics began to compare their work to, a band whose early 1970s work influenced Greenwood's guitar parts at the time. Some compared OK Computer thematically to Floyd's bestseller (1973), although Yorke said the album's lyrics were inspired by observing the 'speed' of the world in the 1990s. Yorke's lyrics, embodying different characters, had expressed what one magazine called 'end-of-the-millennium blues' in contrast to the more personal songs of The Bends. According to journalist, the band had become 'the poster boys for a certain kind of knowing alienation—as the Talking Heads and R.E.M. Had been before'.
OK Computer met with critical acclaim. Yorke said he was 'amazed it got the reaction it did. None of us fucking knew any more whether it was good or bad. What really blew my head off was the fact that people got all the things, all the textures and the sounds and the atmospheres we were trying to create.' 'Paranoid Android' is a three-part song, mixing acoustic guitars, abrasive electric solos and layered choirs.
The first single from OK Computer, it marks Radiohead's UK singles chart peak (number three). Problems playing this file? OK Computer was Radiohead's first number-one UK chart debut, propelling them to commercial success around the world. Despite peaking at number 21 in the, the album eventually met with mainstream recognition there, earning Radiohead their first recognition, winning and a nomination for. ', ' and ' were released as singles from the album, of which 'Karma Police' was most successful internationally. OK Computer went on to become a staple of 'best-of' British album lists.
In the same year, Radiohead became one of the first bands in the world to have a website, and developed a devoted online following; within a few years, there were dozens of devoted to the band. OK Computer was followed by the year-long 'Against Demons' world tour, including Radiohead's first headline performance in 1997. Despite technical problems that almost caused Yorke to abandon the stage, the performance was acclaimed and cemented Radiohead as a major live act., the director of the 'No Surprises' video, filmed the band on tour for the 1999 documentary. The film portrays the band's disaffection with the music industry and press, showing their over the course of the tour. 1998–2002: Kid A, Amnesiac and change in sound. Jonny Greenwood has used a variety of instruments, such as this, in live concerts and recordings.
Radiohead's only public performance in 1998 was at an concert in Paris. In March that year, they and Godrich entered to record a song for the 1998 film, ', but were unsatisfied with the results and the song went unreleased. Yorke described the period as a 'real low point'; he developed depression, and the band came close to splitting up. In early 1999, Radiohead began work on their next album. Although the success of OK Computer meant there was no longer any pressure or a deadline from their record label, tension was high.
Band members had different visions for Radiohead's future, and Yorke experienced, influencing him toward more abstract, fragmented songwriting. Radiohead secluded themselves with Godrich in studios in Paris, and, and in their newly completed studio in. Eventually, the members agreed on a new musical direction, redefining their instrumental roles.
After nearly 18 months, Radiohead's recording sessions were completed in April 2000. In October 2000 Radiohead released their fourth album, the first of two albums from these recording sessions.
A departure from OK Computer, Kid A featured a and textured style with more diverse instrumentation, including the, programmed beats, and jazz horns. It debuted at number one in many countries, including the US, where it became the first Radiohead album to debut atop the chart and the first US number-one album by any UK act since the in 1996. This success was attributed variously to marketing, to the album's leak on the file-sharing network a few months before its release, and to advance anticipation based, in part, on the success of OK Computer. Although Radiohead released no singles from Kid A, of 'Optimistic' and ' received radio play, and a series of 'blips', short videos set to portions of tracks, were played on music channels and released free online. Inspired by 's book, Radiohead continued a 2000 tour of Europe in a custom-built tent free of advertising; they also promoted Kid A with three sold-out North American theatre concerts.
The opening track from Radiohead's fourth album, this song emphasises the band's increasing use of and distortions of Thom Yorke's vocals. Problems playing this file? Kid A received a for and a nomination for in early 2001.
It won both praise and criticism in circles for appropriating styles of music; some mainstream British critics saw Kid A as a 'commercial suicide note', labelling it 'intentionally difficult' and longing for a return to the band's earlier style. Radiohead's fans were similarly divided; along with those who were appalled or mystified, many saw it as the band's best work. Yorke denied that Radiohead had set out to eschew commercial expectations, saying: 'We're not trying to be difficult. We're actually trying to communicate but somewhere along the line, we just seemed to piss off a lot of people.
What we're doing isn't that radical.' The album has since been ranked one of the best of all time by publications including and Rolling Stone;, the and Rolling Stone named it the best album of the decade. Radiohead's fifth album, was released in June 2001. It comprised additional tracks from the Kid A sessions, plus one track recorded after Kid A's release, 'Life in a Glasshouse', featuring the.
Radiohead stressed that they saw Amnesiac not as a collection of B-sides or 'leftovers' from Kid A but an album in its own right. It topped the and reached number two in the US, and was nominated for a Grammy Award and the. Radiohead embarked on a world tour, visiting North America, Europe and Japan.
' and ', Radiohead's first singles since 1998, were modestly successful., released in November 2001, features performances of seven songs from Kid A and Amnesiac, and the previously acoustic track '. 2002–2004: Hail to the Thief, departure from EMI, and solo work. An up-tempo, guitar-driven album opener, '2 + 2 = 5' heralded Radiohead's return to a more straightforward style that still included electronic elements. Problems playing this file?
In July and August 2002, Radiohead toured Portugal and Spain, playing a number of new songs. For their next album, the band sought to explore the tension between human and machine-generated music and capture a more immediate, live sound. They and Godrich recorded most of the material in two weeks at in Los Angeles, with the rest of the album recorded in Oxford into the next year. The band described the recording process as relaxed, in contrast to the tense sessions for Kid A and Amnesiac. Radiohead's sixth album, was released in June 2003. Its lyrics were influenced by what Yorke called 'the general sense of ignorance and intolerance and panic and stupidity' following the 2000 election of US President. The album was promoted with a website, radiohead.tv, where short films, music videos and live webcasts from the studio were streamed at scheduled times.
Hail to the Thief debuted at number one in the UK and number three on the Billboard chart, and was eventually certified in the UK and in the US. The singles ', ' and ' achieved heavy circulation on radio.
At the 2003 Grammy Awards, Radiohead were again nominated for, and producer Godrich and engineer Darrell Thorp received the. In May 2003, Radiohead embarked on a world tour and headlined for the second time. The tour finished in May 2004 with a performance at the in California. A compilation of Hail to the Thief B-sides, remixes and live performances, was released in April 2004. Radiohead at the 2004 Radiohead's six-album record contract with EMI ended with the release of Hail to the Thief. In 2006, the New York Times described Radiohead as 'by far the world's most popular unsigned band'.
In 2007, EMI was acquired by the firm in a US$6.4 billion (£4.7 billion) public-to-private buyout. Radiohead were critical of the new management and no new record deal was agreed. The reported that EMI had offered Radiohead a £3m advance, but had refused to relinquish rights to the band's back catalogue; an EMI spokesman stated that Radiohead had demanded 'an extraordinary amount of money'. Yorke and Radiohead's management released statements denying that the band had asked for a large advance, but instead wanted control over their back catalogue. Following the Hail to the Thief tour, Radiohead went on hiatus to spend time with their families and work on side projects. Yorke and Jonny Greenwood contributed to the single ', produced by Godrich. Greenwood composed soundtracks for the films (2004) and (2007); the latter was the first of several collaborations between Greenwood and director.
In July 2006, Yorke released his debut solo album, comprising mainly electronic music. He told Pitchfork: 'I've been in the band since we left school and never dared do anything on my own. It was like, 'Man, I've got to find out what it feels like,' you know?' 2004–2009: In Rainbows and 'pay what you want' Radiohead began work on their seventh album in February 2005 with no record deal. In an effort to 'get out of the comfort zone', they decided against involving Godrich and hired producer.
The collaboration with Stent was unsuccessful and ended in April 2006. In September 2005, Radiohead contributed 'I Want None of This', a piano, for the charity album. The album was sold online, with 'I Want None of This' the most downloaded track, though it was not released as a single. In late 2006, after touring Europe and North America with new material, the band re-enlisted Godrich and resumed work in London, Oxford and rural, England.
Recording ended in June 2007 and the recordings were mastered the following month. Yorke with Radiohead in Arras, France (2008) Radiohead's seventh album, was released through the band's website in October 2007 as a for any amount users wanted, including £0. The landmark release, the first for a major act, made headlines worldwide and sparked debate about the implications for the music industry. According to, the release was 'hailed as a revolution in the way major bands sell their music', and the media's reaction was 'almost overwhelmingly positive'; Time called it 'easily the most important release in the recent history of the music business'. However, it drew criticism from some musicians, such as and, who felt it undercut less successful acts.
In Rainbows was downloaded an estimated 1.2 million times on the day of release, but Radiohead's management did not release sales figures, claiming that the distribution was intended to boost later retail sales. Colin Greenwood explained the internet release as a way of avoiding the 'regulated playlists' and 'straitened formats' of radio and TV, ensuring fans around the world could all experience the music at the same time, and preventing leaks in advance of a physical release. O'Brien said the self-release strategy sold fewer records, but made more money for the band as there was no middleman. A special 'discbox' edition of In Rainbows, containing the record on vinyl, a book of artwork, and a CD of extra songs, was also sold from Radiohead's website and shipped in late 2007.
In Rainbows was released physically in the UK in late December 2007 on and in North America in January 2008 on, charting at number one both in the UK and in the US. The record's retail success in the US – after having been legally available for months as a free download – was Radiohead's highest chart success in that country since Kid A. It became their fifth UK number-one album and sold more than three million copies in one year. The album received critical acclaim for its more accessible sound and personal lyrics.
It was nominated for the short list of the and went on to win the 2009. Their production team won the Grammy for Best Boxed or Special Limited Edition Package, while Radiohead received their third nomination for. Along with three other nominations for the band, Godrich's production and the ' music video also received nominations. Yorke and Jonny Greenwood performed '15 Step' with the at the televised award show.
Radiohead released a number of singles from In Rainbows: ' in January 2008, followed by ', which debuted at number 37 in the, Radiohead's first song to make that chart since 1995's 'High and Dry' and their first top 40 hit in the US since 'Creep'. In July they released a digitally shot video for 'House of Cards'. 'House of Cards', along with ', also received a single release on radio. In September the band announced a fourth single, ', and a competition similar to one organised for 'Nude'. In April 2008, Radiohead launched W.A.S.T.E. Central, a for Radiohead fans. In May, broadcast, a special episode of the music television show in which Radiohead performed songs from In Rainbows.
It was released on in June. In June 2008, EMI released a album,. It was made without Radiohead's input and only contains songs released under their recording contract with EMI. Yorke was critical of the release, saying: 'There's nothing we can do about it. The work is really public property now anyway, in my head at least. It's a wasted opportunity in that if we'd been behind it, and we wanted to do it, then it might have been good.' In August 2008, EMI 'special editions' of Radiohead's back catalogue as part of its 'From the Capitol Vaults' series.
From mid-2008 to early 2009, Radiohead toured North America, Europe, Japan and South America to promote In Rainbows, and headlined the in August 2009. 2009–2012: Singles, side projects, and The King of Limbs As began to expand around the turn of the decade, Radiohead gradually withdrew their public presence, with no promotional interviews or tours to promote new releases.
Pitchfork wrote that around this time Radiohead's 'popularity became increasingly untethered from the typical formalities of record promotion, placing them on the same level as and '. In May 2009, Radiohead began new recording sessions with Godrich. In August, they released ', a tribute song to, the last surviving British soldier to have fought in, with proceeds donated to the.
The song has no conventional rock instrumentation, and instead comprises Yorke's vocals and a string arrangement composed by Jonny Greenwood. Later that month, another new song, ', featuring -like drumming and guitars, was leaked via, possibly by Radiohead themselves. It was released as a free download on the Radiohead website the following week. Commentators saw the releases as part of Radiohead's new unpredictable release strategy, without the need for traditional marketing campaigns. That year, Yorke formed a new band to perform The Eraser live, with musicians including Godrich and bassist; the band played eight North American shows in 2010.
In January 2010, Radiohead played their only full concert of the year in the Los Angeles as a benefit for. Tickets were auctioned, raising over half a million US dollars for the NGO's relief. In September 2010, Radiohead released the of their 2009 Prague performance for use in a concert video,.
In December, a fan-made video of Radiohead's Oxfam benefit performance, was released via YouTube and torrent with Radiohead's support and a 'pay-what-you-want' link to donate to Oxfam. The videos were described as examples of the band's openness to fans and positivity toward non-commercial internet distribution. In June 2010, Yorke and Jonny Greenwood performed a surprise set at, performing Eraser and Radiohead songs. On 30 August, Selway released his debut solo album,.
Radiohead performing on the 2012 King of Limbs tour After the King of Limbs tour, during which Radiohead performed, the band entered hiatus again and the members worked on side projects. In February 2013, Yorke and Godrich's band Atoms for Peace released a studio album,. The pair made headlines that year for their criticism of the free service; Yorke accused Spotify of only benefiting major labels with large back catalogues, and encouraged artists to build their own 'direct connections' with audiences instead. In February 2014, Radiohead released the Polyfauna app for and phones, an 'experimental collaboration' with the British studio Universal Everything, using music and imagery from The King of Limbs.
Yorke and Selway released their respective second solo albums, and in September and October 2014, while Jonny Greenwood scored his third film for Paul Thomas Anderson,; it features a new version of an unreleased Radiohead song, 'Spooks', performed by Greenwood and members of. In 2015, Yorke contributed a soundtrack, Subterranea, to The Panic Office, an installation of Radiohead artwork in Sydney, Australia. In the same year, a collaboration between Greenwood, Godrich, Israeli composer and Indian musicians, was released. It was accompanied by a name directed by Anderson. 2014–present: A Moon Shaped Pool and OKNOTOK 1997 2017 Radiohead began work on their ninth studio album in September 2014, joined again by Godrich.
In 2015 they resumed work in the La Fabrique studio near, France. The sessions were marred by the death of Godrich's father, and Yorke's separation from his wife, who died of cancer several months after the album's completion. On Christmas Day 2015, Radiohead released a new song, ', on the audio streaming site; it had been commissioned for the 2015 film, but was rejected by the film producers as 'too dark'. On 1 May 2016, Radiohead deleted all content from their website and social media profiles and replaced them with blank images. Two days later, they released ', the lead single from their forthcoming album, accompanied by a music video. It was followed by ', accompanied by a music video directed by Paul Thomas Anderson. Radiohead's ninth studio album, was released on 8 May 2016 on Radiohead's website and online music stores, followed by physical versions on 17 June via XL Recordings.
It includes several songs written some years earlier, including ', along with strings and, and additional percussion from Deamer. The album was not released on Spotify, a free service, until six weeks later; In Rainbows, the only other Radiohead album not previously available on Spotify, was added on 10 June. Radiohead performing on the 2016 Moon Shaped Pool tour A Moon Shaped Pool was Radiohead's sixth UK number-one album and reached number 3 in the US.
It was the fifth Radiohead album to be nominated for the, making Radiohead the most shortlisted act in the award's history, and was nominated for and (for 'Burn the Witch') at the. It appeared on several publications' lists of the best albums of the year. In 2016, 2017, and 2018, Radiohead toured Europe, Japan, and North and South America in support of A Moon Shaped Pool, including headline shows at the and festivals.
The tour included a performance in Tel Aviv on 19 July 2017, disregarding the campaign for an international cultural. The performance was criticised by artists including musician and filmmaker, and a petition urging Radiohead to cancel the performance was signed by more than 50 prominent figures.
Yorke responded in a statement: 'Playing in a country isn't the same as endorsing the government. Music, art and academia is about crossing borders not building them, about open minds not closed ones, about shared humanity, dialogue and freedom of expression.' In June 2017, Radiohead announced a 20th-anniversary OK Computer reissue, comprising a remastered version of the album, B-sides, and three previously unreleased tracks: ', ' and '. Radiohead promoted the reissue with music videos for the three new tracks. OKNOTOK topped the, boosted by Radiohead's televised Glastonbury performance that week, and reached number 23 in the US. On 20 August 2017, Yorke and Jonny Greenwood performed a benefit concert in, Italy, following the.
In September, the nature documentary series premiered, featuring a new version of the King of Limbs track 'Bloom' created with the film composer. In October, Radiohead were nominated for the, the first time they had been eligible.
In the same month, Selway released his third solo work, the soundtrack to the film Let Me Go. In 2018, Jonny Greenwood scored his second film by, and was nominated for an for his fifth collaboration with Anderson,. Style and songwriting. 'Modified bear' logo for Kid A by artists and Tchock (Thom Yorke) Producer made his name with Radiohead, working as an audio engineer on The Bends and as their producer on every studio album since. He has been dubbed the band's 'sixth member', an allusion to being called the '. In 2016, Godrich said of the collaboration: 'I can only ever have one band like Radiohead who I've worked with for this many years.
That's a very deep and profound relationship. The Beatles could only have ever had one George Martin; they couldn't have switched producers halfway through their career. All that work, trust, and knowledge of each other would have been thrown out of the window and they'd have to start again.'
Graphic artist met Yorke when both were art students, and with Yorke has produced all of Radiohead's album covers and visual artwork since 1994. Donwood works in the studio with the band as they record, allowing the music to influence the artwork. He and Yorke won a in 2002 for the special edition of Amnesiac packaged as a library book. Dilly Gent has commissioned all Radiohead music videos since OK Computer, working with the band to find directors. Since Radiohead's formation, Andi Watson has been their lighting and stage director, designing the visuals of live concerts, such as the ' forest' of the In Rainbows tour. Technician Peter 'Plank' Clements has worked with Radiohead since before The Bends, overseeing the setup of their instruments for studio recordings and live performances.
Drummer Clive Deamer was enlisted in 2011 to help perform the complex rhythms of The King of Limbs, and has performed and recorded with Radiohead since. Band members. – lead vocals, guitar, piano, keyboards. – guitar, keyboards,.
Radiohead The Bends Songs
– bass guitar. – guitar, effects, backing vocals.
– drums, percussion Additional live members. – drums, percussion (2011–present) Awards and nominations. Doheny, James. Radiohead: Back to Save the Universe. Forbes, Brandon W.
And Reisch, George A. Hale, Jonathan. Radiohead: From a Great Height. Johnstone, Nick. Radiohead: An Illustrated Biography. Letts, Marianne Tatom.
Radiohead and the Resistant Concept Album. Paytress, Mark. Radiohead: The Complete Guide to their Music. Tate, Joseph (ed). The Music and Art of Radiohead. External links Wikimedia Commons has media related to. discography at.
Radiohead The Bends Play Album
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Radiohead – OK Computer: OKNOTOK 1997-2017 (2017) FLAC (tracks) 24-bit/96 kHz Time – 01:32:37 minutes 1,94 GB Genre: Alternative Rock Studio Master, Official Digital Download – Source: WasteHeadQuarters Front Cover © XL Recordings “OK Computer: OKNOTOK 1997-2017” featuring remastered OK COMPUTER album plus B-Sides and 3 Never Before Released Tracks: “I Promise”, “Lift”, and “Man Of War”, rescued from defunct formats, prized from dark cupboards and brought to light after two decades in cold storage! All material on OKNOTOK is newly remastered from the original analogue tapes. OK COMPUTER was originally released on various dates ranging from May to July 1997.
Produced by the band and Nigel Godrich, the album is widely cited as one of the greatest works of Radiohead’s–or any artist’s–catalogue and was the first Radiohead record to reach #1 in the UK and to be be nominated for the Album of the Year GRAMMY. In 2015, The National Recording Registry selected OK COMPUTER to be preserved in the Library of Congress as a recording that has proven “culturally, historically, or aesthetically significant”. Using the textured soundscapes of The Bends as a launching pad, Radiohead delivered another startlingly accomplished set of modern guitar rock with OK Computer. The anthemic guitar heroics present on Pablo Honey and even The Bends are nowhere to be heard here. Radiohead have stripped away many of the obvious elements of guitar rock, creating music that is subtle and textured yet still has the feeling of rock & roll.
Even at its most adventurous – such as the complex, multi-segmented “Paranoid Android” – the band is tight, melodic, and muscular, and Thom Yorke’s voice effortlessly shifts from a sweet falsetto to vicious snarls. It’s a thoroughly astonishing demonstration of musical virtuosity and becomes even more impressive with repeated listens, which reveal subtleties like electronica rhythms, eerie keyboards, odd time signatures, and complex syncopations. Yet all of this would simply be showmanship if the songs weren’t strong in themselves, and OK Computer is filled with moody masterpieces, from the shimmering “Subterranean Homesick Alien” and the sighing “Karma Police” to the gothic crawl of “Exit Music (For a Film).” OK Computer is the album that established Radiohead as one of the most inventive and rewarding guitar rock bands of the ’90s. OKNOTOK is the twentieth anniversary edition of OK Computer, a reissue endorsed by the band whereas the 2009 Collector’s Edition was not. Both the 2009 and 2017 deluxe editions are double-CD sets—OKNOTOK also has accompanying Super Deluxe and vinyl editions—and the bonus material on both is largely identical, rounding up the B-sides that appeared on the various singles pulled from the album in 1997 and 1998. All the live tracks that appeared on the 2009 reissue—including a BBC session from May 28, 1997—are excised, along with two remixes of “Climbing Up the Walls” but what’s in their place is more than welcome: three previously unreleased songs, including the semi-legendary “Lift.” Radiohead played “Lift” often in its 1996 tour supporting Alanis Morissette and, among fans, it’s been considered the bridge between The Bends and OK Computer, a song that could’ve been a radio hit if it showed up on the latter. “Lift” does indeed sway to a hopeful lilt which suggests pop even if the tune itself isn’t particularly catchy.
Nevertheless, it’s a mini-marvel of sustained controlled mood, overshadowed somewhat by the dramatic unabashed prog of “Man of War” but not “I Promise,” a nice ballad that’s the least of the trio of new tracks. That said, all three are strong songs—sometimes stronger than the released B-sides—and they’re reason enough for serious Radiohead heads to pick up this anniversary edition.
Tracklist: 01 – Airbag 02 – Paranoid Android 03 – Subterranean Homesick Alien 04 – Exit Music (For a Film) 05 – Let Down 06 – Karma Police 07 – Fitter Happier 08 – Electioneering 09 – Climbing Up the Walls 10 – No Surprises 11 – Lucky 12 – The Tourist 13 – I Promise 14 – Man of War 15 – Lift 16 – Lull 17 – Meeting in the Aisle 18 – Melatonin 19 – A Reminder 20 – Polyethylene (Parts 1 & 2) 21 – Pearly. 22 – Palo Alto 23 – How I Made My Millions Download.
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Radiohead The Bends Review
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Was 's peak as an adventurous guitar band and their creativity wasn't limited to the album proper - it spilled over to that album's B-sides, resulting in their most consistent string of singles, which, in turn, makes the double-disc reissue of the best of all the 2009 deluxe reissues. This collects all the B-sides from the singles for 'My Iron Long,' 'High & Dry'/'Planet Telex,' 'Fake Plastic Trees,' and 'Street Spirit (Fade Out),' adding four BBC sessions to comprise a bonus disc totalling 21 tracks. Compared to the and reissues, this doesn't rely heavily on live tracks or remixes, so there is a pretty hefty amount of valuable non-LP songs here, including 'Talk Show Host,' 'Bishop's Robes,' 'Banana Co.,' and 'Molasses,' which all point the way toward the vibrant twitchy progressive rock of. Even with these tunes hinting toward the future, the 21 tracks on the bonus disc are connected strongly to the muscular, imaginative present of in 1995, building and expanding upon the sound of and, when presented in conjunction with the album, enhancing it, illustrating that this was when the band found its voice.
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