RADIOHEAD

Personally I believe Radiohead should be in the Prog Related category and Ok Computer is not a prog album but I'm still going to review it. Ok Computer is one of the greatest Art Rock albums ever made while I think it's a bit overrated I can understand the hype behind it and I think that any prog rock fan will get enjoyment out of this album (and Radiohead in general). This album is super consistent and well put together each track fits so well, the album opens with sleigh bells and a ripping guitar riff wich perfectly starts off the album and shows off what's to come featuring a blend of the rock and the bits of electronica that are scattered throughout the song/album, the next track is the proggy Paranoid Android featuring everything from time signature changes to multiple movements in the song starting with an acoustic intro before synths come in then the song temporarily goes into a post punk phase before slowing down the whole things amazing next up is the very space rock esque song Subterranean Homesick Alien. As i mentioned before the album is well put together and these three songs I mentioned follow a format on the album it's like a rollercoaster, you start off with Airbag and then you hit one of the albums highs with Paranoid Android then the album calms down with Subterranean Homesick Alien and then the next high is the very dramatic Exit Music (wich is the second most proggyist song off the album) wich follows a very Post Rock like structure the song almost feels like if Van Der Graaf Generator was an alt rock band, the album continues with the very jangly track Let Down then the fan favorite track Karma Police before going into one of the coolest yet darkest interludes Fitter Happier which perfectly encapsulates the general theme of the album i truly believe that this is a highlight of the album, Climbing Up The Walls again feels like if a 70s prog band was an alt rock band this time it almost feels like Epitaph by King Crimson and need I say anything about No Surprises? While I prefer Kid A for it's more abstract lyrics and themes Ok Computer has the best flow and is the most enjoyable record to listen to. Like i said earlier I do think it's overrated for it's not the most daring concept album (not that, that's bad) but I can't help but be reminded of other concept albums that do a similar thing, but I try to look at it as it's own thing and I think that makes this album an excellent addition to any prog collection

I'm writing this part before I do anything other of the review, 'cause I know how respected and honored I and my reviews are. I know all of you think I'm a genius and I'll accept that responsibility. But with great responsibility comes great responsibility, and I have to responsibly make this review to avoid getting murdered in cold blood. So here I am, on my soapbox telling all of you below me that even though you made me your genius, my opinion is not set in stone, nor is it fact. I got my CD loaded up and I'm prepared to like this album. I WANT to like this album. I'm going to do it as much justice as I can while still being honest. I always return to this every couple of months, to test the water a bit, just to see if another listen will change my mind. If you take a second to look at my collection you'll see that I own a copy of this album. I bought it at one of my favorite record stores because that day there wasn't a great selection, and I only had one other thing in my hand I was gonna buy (a copy of Wish You Were Here if you're interested). So I saw this, remembered me liking OK Computer quite a bit, and thought "I hear about In Rainbows a lot, it'll probably be pretty good." That's on me for buying an album without listening to it, which in hindsight is pretty dumb. I hope you can sleep well knowing I don't do that [&*!#] anymore. Enough stalling, I'm gonna turn this thing on now and write this review. And maybe all of this will seem stupid and I'll fall in love with this album after so many disappointing listens.

15 Step has always been my favorite track off this album. They use that drum machine so well. That achy chalky tone is being used to a greater and greater extent throughout the track. It's an incredibly pure form of progression. That smooth guitar after the first chorus is really satisfying, the contrast with the drum machine brings it to light. If the track had already had a thing going that suited the smooth guitar sound it would've fallen flat. But alongside the drums, it has a surprising quality to it that brightens everything up and gives you this clear colorful picture. This track is overall just a great opener, it sounds like the album cover, which is a big plus. Honestly, this should've been a title track, 'cause it also sounds like "In Rainbows". Pretty good track to start with. I am giving it a lot of credit because of what's on the rest of the album.

Bodysnatchers comes into the room with a baseball and before you remember you forgot the ball Bodysnatchers hits you upside the head with the bat!! It then kicks you on the ground and spits on you when you finally lose conscience!! So that happens in the first couple of seconds then the vocals start and you see what a little bitch Bodysnatchers is and then you two decide to have a conversation about the geopolitics of a country you just made up. It's an entertaining enough track, it's heavy, and there are some parts where you think "OH, something changed" and it's cool. It's all stuff I heard done before and done better. But I don't have any real problems with it. I like that the vocals are drenched in reverb, which makes Thom's voice more bearable. Only in the last two seconds do you realize how annoying it is, but at that point it's over, and you're left with more or less a good experience.

Nude is where In really Rainbows, this is where [&*!#] gets tough, and the tough get going. It lets you know the deal right away, they're doing a soundscape, it's gonna be artsy, and it's gonna make you FEEL. And feel it made me, it made me feel like [&*!#]. It starts with a real simple bassline and then more instruments come in. The instruments build off the simple bassline and it's all supposed to rise the voice to ethereal levels. And some songs do this well, really well. It's an amazing way to have a song speak to someone. But his voice just does not do anything for me... emotionally. I imagine someone who likes or can at least stand his voice might really have a home here, but that person is not me. The lyrics also don't touch me. Many songs have this permiss, and a boring voice in a boring soundscape is not gonna make me view this theme from any different angles.

Weird Fishes/Arpeggi is NOT a song about fish, another disappointment. From my interpretation, it's a song about suicide, and being disappointed with yourself. It's not interesting, the mellow vibe isn't done well. It's too active to give an existential, ethereal feel. But everything's too well-defined to bring anything down to that level. I want to bring case study number one Mushroom by Can. An incredibly ethereal song, not because of the mellow and laid- back parts, but because of what isn't. The chorus is upfront, it's panicky, and it's uncomfortable. Its contrast with the verses that follow (along with the drums) highlights everything in the track and makes it all very existential. I feel that's what Weird Fishes/Arpeggi was trying to do. But all the instruments are too clear, and nothing made the emotion click. The second half of this song is supposed to be riding some sort of emotion built up in the first. But there was none, so it just kinda comes and goes without a trace.

All I Need starts without much going on. The synth and the vocals try to start something. But everything's already so damp, no fire's started. They keep adding more instruments, more fuel to their make-believe fire. At a certain point there's just too much noise and none of it is doing anything. It's a frustrating listen, but it ends soon enough. The lyrics aren't anything to write home about. They're nothing to write about in general, and I will write nothing about them.

Faust Arp starts right off accelerating. Wakey wakey, eyes and bakey, here's your plate of whatever this song is. It's just sort of here. Doesn't really do anything. It's another meaningless up and down. I like the violins and some of the lines stand out. If this were earlier in the album I would probably like it a lot more, but at this point, I'm frustrated and tired of this sound.

Reckoner is when I realize there are still four entire songs left, twenty whole minutes, or twelve hours in (In) Rainbows time. Despite everything, it starts with a very interesting thing going on, I really do like the opening minute. But then it continues for a bit too long. Then the piano comes in, does nothing and muffles the already full mix. Around two minutes thirty, the bridge comes along, relatively interesting stuff going on here, nice change of pace. It builds up anticipation for what comes next, what sort of new sound is gonna pop up after the bridge? The same thing from before the bridge popped up. And it's a huge let down. I really have nothing else to say about anything else going on here, and there's still well over a minute left here.

House Of Cards starts with a riff that sounds so familiar. It's the same guitar sound used earlier. Some people might see it as cool coming back around. But at this point I just want something fresh. The vocals come in sounding like almost every song before. It's retreading on the same ground. I do not care what the lyrics are at this point, nothing around them even tries to help or do anything, it sounds like they just gave up. I feel like I would maybe like this if I like everything before because it fits too well into this album's mold. So in that respect, I get it. But since I already only actually enjoy one song off this album this just falls on deaf ears.

Jigsaw Falling Into Place is the same situation as House Of Cards. There is more going on, the final chorus is cool I guess, but it's still kinda just the same thing this album has been doing already. I could copy and paste what I wrote on House Of Cards, and I'll have displayed my opinions more or less correctly.

Videotape is the final boss of this album. It's fresh, I'll give it that, but it's more repetitive than any of the other songs. There's a drum sound imitating a train in the left channel, and only in the left channel, which bugs me quite a bit. The song is about suicide, again, with more intimate lyrics I guess. This would be an amazing song if I liked the rest of the album. The sound fits in place, but not in an insignificant way, in a way that would've closed this album off nicely.

This isn't the worst album of all time, there are things it does well, 15 Step is great. But it's (to me) very, very boring. I've heard worse, and I'd rather sit through those just because they're not as boring. Aside from 15 Step, and maybe Bodysnatchers, I'm never touching this album again. I just might listen to Videotape sometime again, outside the context of the album, because I feel like it might be something I would like without all that nothing before it. The CD's cool though, very high quality and the insert has tons of cool art; if you like this album, get a copy on CD. (JFTR: I love the album art to this one, the color is so detailed and pretty, and it's just a great cover. But aside from 15 Step, none of the music fits the cover.) So to end this off, sorry I don't like this album, I'm only human, and fight me like a [%*!#]ing man if you wanna be starting [&*!#]. May you have a blessed day amen!

"In Rainbows" is Radiohead's 7th full length studio album which was released after several years after the band's contract was fulfilled with their previous album "Hail to the Thief", which to me was a bit less interesting than the albums made around it. "In Rainbows" sees the band return to a slightly more accessible style with some lovely songs, yet the tracks are kept interesting enough with the band's sound manipulations and variations. This album ends up being an art-pop/rock masterpiece as Radiohead shows the world how it is done. It was also nice to have this slightly "lighter" album that relied more on structured melody than on improvisational melody. These are tracks that stick in your memory a lot better and are more appealing. The band's continued use of a combination of standard instrumentation and electronica is what keeps them interesting and they pull it off quite amazingly on this album.

15 Step - Thom's vocals against a background of percussion and tricky handclaps gives one the impression that this is going back to the "OK Computer" through "Amnesiac" days, but ends up landing in the "Hail to the Thief" days. It's an interesting combination of old and new Radiohead styles with enough experimental sound manipulations to keep it new, yet straightforward enough to catch your attention right away.

Bodysnatchers - Starts with a nice, fuzzy guitar lick that the entire track builds off of for a heavier sound with a driving, rocking beat. Yorke likes to compare this to a cross between "Neu!" and "Wolfmother". It does end up being a cool mixing of old and new again, but in a more rocked out style than the first track.

Nude - This was originally recorded for "OK Computer", but the band never felt comfortable enough with it at that time, so it was updated for "In Rainbows". It's a more minimal sound than the previous tracks, but in the lovely, simple/complex style that the band is well known for. It is based around Greenwood's bass line. This differs from their original idea for the track which was actually inspired by Al Green. This newer version seems to take inspiration more from Bjork, with that eerie beauty that she embodies in her songs.

Weird Fishes/Arpeggi - A nice smooth and flowing beat that rolls ahead and makes you feel like you are floating along with it. Yorke's vocals only enhance that floating sensation this track has, but his emotional pull in his voice only makes it all that much more intriguing. The jangly guitar riff seems to be based on an arpeggio riff which could be where the 2nd half of the title comes from. Mists of darkness invade the last part of the track in the form of interesting sound constructs.

All I Need - A slow downbeat brings this rare song about love and obsession (rare in the case of Radiohead). The album's version of the song uses an audience recording as the basis giving it a somewhat amateurish and dirty feel, but the chimes playing over the top brightens things up. The last part of the song becomes more dronelike in the background, which was created by a string section playing a basic scale and then blanketing the sound.

Faust Arp - Heavy strings and acoustic guitar act as a foundation to a somewhat rambling melody sung by Yorke. This one tends to be buried in the album mainly because of its brevity, but with time, it really starts to stand out.

Reckoner - This is one of those wandering melody tracks that Yorke tends to do so well with his falsetto. The piano/guitar background seems to want to fall into a predictable pattern, but instead wanders around chords in an unpredictable way and this is the thing that makes it progressive. Things break down in the middle of the track, but when the main melody returns later, it is accompanied by a string section that really beautifies the entire track. This is a track that will grow on you the more you pay attention to it's little nuances.

House of Cards - This track was originally meant to be like an R.E.M. song, but was almost completely overhauled. The melody is fairly simple and straightforward, but it's the instrumentation that keeps it original and fresh all the way through. Some sound manipulation gives the song an eerie warble in various places. It's things like this that make Radiohead's music so lovely in new, unique ways that other band's can't seem to copy.

Jigsaw Falling Into Place - After hearing several songs with dreamy, underhanded beats, it's nice to have this one in the track list where it is. The beat is more upfront here and is the driving force behind the track. Also, the way the track so effectively builds to the heavier and more intense middle section is very effective. The use of the strings building even more on the third verse is the perfect way to cap off this track.

Videotape - A good way to end the album with a simple, repetitive piano motif produced by variations of chord patterns and Yorke's mesmerizing vocals. Some limping percussive pattern joins in later along with some eerie sound manipulations give the track the variation it needs to keep it interesting.

One of the issues I have with this album is that it does tend to drag a bit towards the last half, at least in the first several listens. This issue tends to iron itself out as you become more familiar with the album and the placement of "Jigsaw Falling Into Place" also helps to brighten up the darker feel of the 2nd half. However, this is still an excellent album which falls at the right place in the band's discography. "Hail to the Thief" could have been followed by less memorable albums along that same line, however, the band, after allegedly many sessions, were able to work out the doldrums issues and produced this great album which for me brought back a lot of the original enthusiasm I had for the band through their "The Bends" through "Amnesiac" stage. The slight misstep of "Hail to the Thief" was corrected quite well by "In Rainbows".

It would seem here that Thom and company are trying to imitate, pay homage to, or evoke the experimental music of the 1960s BEATLES. They also seem to have become quite enamored of New Orleans music and jazz sounds, stylings, and motifs.

1. "Packed Like Sardines in A Crushed Tin Box" (4:00) interesting start but then goes wrong. (8.5/10)

2. "Pyramid Song" (4:48) Excellent top to bottom--and very experimental. Love the Beatles-like orchestration. My favorite song on the album. (9.75/10)

3. "Pulk/Pull Revolving Doors" (4:07) playing with trip hop and glitch and scratch electro-editing. I like it! (8.75/10)

4. "You and Whose Army?" (3:11) almost retro 1950s blues turning into BEATLES piano-based psychedelia. (8.75/10)

5. "I Might Be Wrong" (4:53) electronic opening joined by BUSH-like guitar. It really goes nowhere else until 3:50 when all drops out and some interesting Bayou-bluesy electronica finishes it. (8.25/10)

6. "Knives Out" (4:14) interesting interplay from the three guitarists and nice vocal melodies. (8.75/10)

7. "Morning Bell/Amnesiac" (3:14) another song that contains elements that are very reminiscent of BEATLES music circa 1967. My other top three song. (9/10)

8. "Dollars & Cents" (4:51) guitar play like some of the early electrified guitars of the 1950s or 1960s with a bit of a jazz or bassa nova feel and rhythm to it. A top three song for me. I love the playfulness of the vocals and drums. (9.5/10)

9. "Hunting Bears" (2:01) Bayou blues. Not enough to make this one viable other than as an experimental interlude. (3.75/5)

10. "Like Spinning Plates" (3:57) highly experimental sound engineering over which Thom starts whining halfway through. (8.25/10)

11. "Life In A Glasshouse" (4:34) Dixie blues-house horns! Interesting. (8.5/10)

Total Time: 43:50

I appreciate all of the experimental melding of very old riffs and sounds with contemporary innovations in electronica, but often the songs feel quite monotonous to a lyric-deaf listener like me.

B/four stars; an interesting collection of songs meeting the usual Radiohead standard for experimentation and mood. Three great songs and some other curios.

Radiohead's OK computer is a classic art rock and alternative rock album. The record has been celebrated by many people and websites, but is OK computer as great as people say it is? The answer would be yes. I am a little biased on the album though as I am not a huge fan of Radiohead and I don't listen to a lot of alternative rock, but I still really enjoyed the album. OK computer has classic songs on it such as Paranoid Android and Karma Police, which are both great popular songs. songs like Airbag and Lucky aren't as well known, but they are also great. All of the songs on the album are great, and the experimentation is there too. I will admit that I do not listen to Radiohead a lot, but they are a great band. OK computer is a classic rock album that is well worth a listen, or five.

I recently came across an article about the 20th anniversary of OK Computer as well as another glowing review on PA for Talk Talk's Laughing Stock album around the same time. With neither album being something that I found particularly enjoyable, I figured I would listen back to back after seeing them sit on the shelf for many years to see if I might be wrong about one or both. Here I review Radiohead.

Some people love it but it is not universally hailed as being wonderful is what I have observed. I always liked Paranoid Android but felt the rest was pretty "blah." So what now? Nothing has really changed my overall view and I now realize that the cool parts of Paranoid Android make up but a small part of the song, with the balance being along the lines of the rest of the album. Generic angst is the overall mood I am getting, a "too cool for school" vibe that wants you to either embrace their "vision" or dismiss the whole thing out of hand and they don't really care on which side you fall. These are eclectic but straight forward rock songs for the most part with nothing leaving a lasting impression. You may have the impression or been told you need to hear this album. Trust me, you really don't. 2.5 stars.

On a sad record even for Radiohead's gloomy standards, Thom Yorke reflects, among other themes (there is room for the politicized "Burn The Witch", for example), about the end of his marriage. Even the fact that "True Love Waits" (a song that has been featured on the band's shows since 1995) finally made it onto a Radiohead album is deeply symbolic, as it was only after ending his long relationship that Yorke recorded the final version of a song that exposes love in a more open and transparent way: "And true love waits / In haunted attics / And true love lives / On lollipops and crisps / Just don't leave / Don't leave". Highlights: "Burn The Witch", "Daydreaming", "Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief" and "True Love Waits".

After an irregular debut, Radiohead took a huge qualitative leap in The Bends. Several factors contributed to this leap: a better producer (John Leckie, engineered by the band's future producer, Nigel Godrich), a more consistent repertoire, a better use of their influences (from U2's arena rock to Jeff Buckley's vocal style and sound dynamics) ... and, as Tom Breihan pointed out in an article about this album for Stereogum, the confidence level: "The Bends is an album from a band fully in command of its gifts, one who understands exactly what it wants to do". The first track, "Planet Telex", has a touch of psychedelia combined with a vigorous sound. The following three are all classic: the poweful title track (which contains lyrics like "I wish it was the sixties (...) I wish that something could happen"), the beautiful ballad "High and Dry" and the melancholic crescendo of "Fake Plastic Trees" ("She looks like the real thing / She tastes like the real thing / My fake plastic love"). The core of The Bends contains some not so well-known songs which are almost as melodically captivating as their hits: the rockers "Bones" and "Sulk" and the delicates "(Nice Dream)" and "Bullet Proof ... I Wish I Was". The record's final stretch is spectacular: the exciting "Just" (perhaps one of the band's most iconic songs, thanks in part to the music video), the sarcastic "My Iron Lung" (a response to the success of "Creep") , the addictive chorus of "Black Star" (their first Godrich-produced track) and the gloomy "Street Spirit (Fade Out)". The Bends is Radiohead's most hit-filled album, although it took a year (and 5 singles, including the My Iron Lung EP) for one of its songs reach on the UK Top 10 ("Street Spirit" went straight to #5 in January 1996) and the US Top 100 ("High and Dry" peaked at #78 in April '96). The recognition was gradual, but definitive: the years go by and this CD continues to be considered Radiohead's first great album.

This album delivers the incredible Radiohead live show, showing off how dynamic and energetic this band is.

This version of "The National Anthem" has so much more life and atmosphere. Radiohead obviously enjoy playing this one and make it a real favorite to play live. "I Might Be Wrong" is played with much more speed and sounds more livelier than the Amesiac version. Another brilliant reworking from its original and the crowd respond really well. "Morning Bell" is quite similar to the studio version and gets a good crowd response as it is one of the best tracks on Kid A. "Like Spinning Plates" is the most different from the studio version. I love this version. The Amnesiac version was a technical racket of noise. This live version has evolved into a gentle yet exhilarating piano with tranquil vocals from Mr. Yorke. This is definitely the standout track on the album even though every track is incredible. The vocals and lyrics get their spotlight as it is a lot easier to digest than on Amnesiac. "Idioteque" was probably the best track on Kid A and it works wonders here. It is played excellently live as it is a difficult track to recreate. Obviously they gave it some tweaking to bring something new to the stage. If you listen close enough you will hear the crowd singing along to Thom's strange ramblings. "Everything in its Right Place" is extended a lot here with a strange build up intro that is new to this album. The track is everything that the studio album is and more. "Dollars and Cents" is a lot livelier and the bass sounds even better here. The last two minutes are exceptional as they progress further and further than the studio track dared to go. Then we have "True Love Waits" which is an extra special acoustic piece by Thom Yorke alone. Still one of the most beautiful pieces of music I've ever heard. Thom's voice is emotional and moving and it's probably his greatest moment as a singer and a songwriter. This is a brilliant close to a fine live album. You'll love this piece of music.

For a short live album, it is excellent and should be considered one of the band's best albums. Because of the passion of the songs and the uniqueness throughout most of the album, it is definitely deserving of your time.

Radiohead's "TKOL RMX 1234567" is a remix collection released in 2011. It might seem like a strange title until it is explained. TKOL stands for the album "The King of Limbs". Thom Yorke thought this album was full of songs that could be reworked and remixed into some interesting variations, as the original album was recorded by studio experimentation, using loops and electronically enhanced sounds and sequences and he wanted to do further experimentation with them by having different artists rework them. What resulted was a series of EPs, or 12 inch singles that had either two or three of these remixes. There were a total of 8 EPs in all by the time it was all said and done. However, the 8th EP was not finished by the time this collection was put together, hence you have the remix EPs 1, 2, 3, 4, 5, 6, and 7. The 8th EP featuring 3 remixes was not included in this collection, but is available separately.

So, it has always been difficult for me to review remix albums, mostly because, unless the original track is made better, or made into an entirely different creature all together, I don't see much point in it. This double CD has a total of 19 tracks altogether, and of course, the original album didn't have that many, so you see most of the tracks here are included more than once in different versions. Fortunately, it is a bit difficult to hear the redundancy of the tracks because there is quite a bit of variation between them. And some of them definitely either improve on the original or sound completely different from the original, but there are others that are much too repetitive or boring. There is also the fact that I never found this album to be one of their best, I find it much to clinical, and that is also considering the fact that I really like "Amnesia" and "Kid A", their most electronically centered albums. There just isn't much in "The King of Limbs" that sticks with me.

That being said, I do find that I enjoy some of the tracks on this collection better than the original. For example, my favorites here are the Caribou remix of "Little by Little", the Scavenger remix of "Morning Mr. Magpie", "TKOL Altrice Remix", and the Blawan remix of "Bloom". Some of the others are not bad, but, as can be expected, some are too repetitive or don't have enough development or aren't really improvements. There is also the fact that this is a difficult album to listen to all the way through for me because of the repetitiveness apparent on a lot of the tracks and that it is very electronic sounding.

If you love remix albums, then you should check this out, because I understand that my own taste might not be yours. If you don't like electronically produced music, then you should stay away. If the source material was better, at least in my opinion, then I also might have enjoyed this more, but its hard to say. Just because its a remix album doesn't mean that I won't like it because I have found a few that I really enjoy. This is not one of them. I can't really call it poor however, but I can't see it being of much interest other than to collectors and completionists.