Radiohead music cd
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Amnesiac Radiohead
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More song-driven and acoustic than Kid A, Radiohead's Amnesiac isn't quite "Kid B," but it is
unquestionably cut from the same far-out cloth, as the band revels in fascinating quirks and
abject nihilism. It's also the first time in Radiohead's career that a new record hasn't meant a
complete shift in artistic priorities. Surely, however, regardless of which was released first,
they both deserve recognition; after all, Amnesiac, like Kid A, is an amazing piece of work.
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OK Computer music cd
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Radiohead's third album got compared to Pink Floyd a lot when it came out, and its slow drama
and conceptual sweep certainly put it in that category. OK Computer, though, is a complicated
and difficult record: an album about the way machines dehumanize people that's almost entirely
un-electronic; an album by a British "new wave of new wave" band that rejects speed and hooks in
favor of languorous texture and morose details; a sad and humanist record whose central moment
is Thom Yorke crooning "We hope that you choke." Sluggish, understated, and hard to get a grip on,
OK Computer takes a few listens to appreciate, but its entirety means more than any one song.
--Douglas Wolk
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Kid A
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How is it that Kid A's opening track, laden with an electronic vocal stuttering "bleh, bluh-bleh
bleh bluh" is the most fascinating statement made in rock & roll this year? Because somehow,
even when Radiohead blathers and blips nonsense, it's profound. The band's future-perfect musical
grammar may be hard to decipher, and the melody is even more subliminal, but the journey traveled
with Radiohead reveals them to be not only rock music's greatest adventurers in 2000, but
teachers as well.
--Beth Massa
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The Bends
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While Radiohead saw its stock rising in 1994, it wasn't until 1995's The Bends that it really
became a blue chip band. And for good reason. The quintet honed its talent for bombastic Brit
Rock, yet still preserved an edge of unpredictability. Even singles like the title track didn't
give in to the kind of swooning guitar cliches usually embraced by commercial radio. If the CD
proved anything, it was that Radiohead could find solid ground between pop experimentation and
the tradition of born-in-the-bone, balls-out rock.
--Nick Heil
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Pablo Honey
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Before Radiohead became the biggest critics' darling since Pavement or Dr. Dre, they were just
another pre-Oasis British band with some loose indie ties, trying to gain some cred. Loopy
enough to name this moody, often battering debut album for a Jerky Boys routine, they were also
a lot more interesting when they hadn't yet learned the word "soundscape." "Creep," the miserably
majestic single they now claim nearly ruined them, may not even be the best thing here; try
"Anyone Can Play Guitar," an epitaph for River Phoenix before the fact.
--Rickey Wright
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