RADIOHEAD

I might have heard Paranoid Android before. I at least know that it's one of their best-known songs. But here's the thing: I've never heard a Radiohead song that makes me want to hear more. So, I am going to keep an open mind and see if my opinion changes today. I know that many people really love this album, including some who's musical opinions I respect. So maybe I'm missing something here? Let's see.

Track 1 - Airbag

We begin with distorted guitar, to be joined by drums, establishing the rhythm. Then the vocals begin with some harmonies. The vocals are OK, and there seems to be countermelodies joining in on the second verse, played by a guitar in a somewhat cello like manner. The bass seems to be just accenting the start of each measure, not playing steadily. Then there is a guitar featured with tremolo picked notes. The vocals return then everything stops to give us some sound effects and accents from the band. In the last 30 seconds or so of the song there are many layers of sound, but they don't mesh well to my ears.

Track 2 - Paranoid Android

This is the only track I have possibly heard before.

This one starts more acoustic guitar oriented. Very high-pitched falsetto vocals with clean electric guitar fills. Some interesting textures now and again. There are some spoken word parts behind the lead vocals that I can't make out. At about 2 minutes in, we get a fairly decent guitar riff on the acoustic guitar, and for the first time on the album, I feel the band locking into a groove. Up until now it has all felt disjointed. Maybe that's the point, but it doesn't appeal to me. Nice bass grove under it.I believe we are in 7-8 time here. Then the electric guitar kicks in unexpectedly and gets my attention.at around 2:45. OK, now we're rockin'. Guitar solo after a verse. Kinda random playing at first, but it improves toward the end. I believe Jonny Greenwood is the lead guitarist. I suppose he definitely has his own style going on here, but he's no Steve Howe or Alex Lifeson. We slow things down at around 3:30. A mellow descending pattern begins. Thom Yorke's vocals are pretty good here. I am realizing that I actually don't think I've heard this before, only just heard the title. Nice harmony interplay vocals here. Then the band kicks in with a riff and another guitar solo. He likes his oddball effects?maybe a whammy pedal? The song ends pretty abruptly. OK?not the greatest song I've ever heard, but it's better than anything else I have heard by Radiohead, thus far.

Track 3 - Subterranean Homesick Alien

OK, the title is reminiscent of Bob Dyland Subterranean Homesick Blues. Let's see if the song is inspired by that song, or just the title.

Nice clean guitar joined by some interesting textures on keyboards, I believe. This song seems to have a "dreamy" feel to it. The chorus is a bit more rhythmic. A fuzz tone guitar countermelody comes in on the end of the second verse., (So far, only the title seems inspired by the Dylan song.) I believe there are electric 12-strings here, maybe Rickenbackers, they have that "jangly" tone. Then a nice guitar turn-around run happens at around 3:35 to lead us into a repeat of the chorus. This happens again before returning to the dream-like feel. A mellow electric piano resolves the song.

Track 4 - Exit Music (For a Film)

What film? I don't know?maybe we'll find out.

Very soft acoustic strumming then the vocals join in with lots of reverb, much louder than the guitar. Harmony backing vocals and possible mellotron begin backing the lead vocals around 1.5 minutes in. (or are the vocals on the mellotron?I think that's more accurate. The second verse sounds like it has ocean sounds behind it. Drums kick in with a synth bass around 2:55, and we get a big crescendo with the mellotron returning. We close with mainly the vocals, ocean sound and distant acoustic. This one gives me Moody Blues meets U2 vibes. Not bad (Yes, my opinion is starting to waver on this band.)

Track 5 - Let Down

Chimey arpeggiated guitar starts us out, and then the bass drums and vocals come in. This has a slightly Byrds-like feel. Things drop back to just the guitars about halfway through. Some feedback is building under the surface. I liked the vocal duet feel at around 4 minutes in. This one felt more folk-rock with some modern touches. Not bad.

Track 6 - Karma Police

It begins with piano and acoustic guitar, then the rhythm section comes in with a bit of a Beatles feel. Some of the chords in the chorus REALLY remind me of Sexy Sadie (starting at 1:18). At about 2:15 we hit the bridge with a little bit of orchestration. So far, I think I enjoy this one the most (my Beatle fan is showing), except maybe the guitar effects at the end. Pretty good.

Track 7 - Fitter Happier

I think the OK computer is talking to us here?. some random piano and musical effects join in?Well after Karma Police, this is a letdown, not for me.

Track 8 - Electioneering

Some various musical effects kick this one off. Then a dissonant guitar brings the band into the rhythm. The underlying song seems pretty cool, but the arrangement is very chaotic. To many noisy layers. The lead guitar sometimes sounds like a kid trying to learn how to play lead. I hope the next track is a bit calmer.

Track 9 - Climbing Up the Walls

Some night-time sound effects at the beginning. Synth bass, drums and acoustic guitar lay the foundation. Distorted lead vocals join in. The sound effects continue. I'd like it better without the distortion effects on the vocals. The thing I am finding on much of the album is that there is just too much happening that detracts from my enjoyment of what could be decent songs. Too many noisy sounds for my taste. It is making me want to climb the walls at about 4:00, there are sounds that hurt my ears. Not for me.

Track 10 - No Surprises

This one begins more mellowy. Sounds like glockenspiel mixed with electric piano over a gentle rhythm. Slightly Beach Boys vibe. A melodic vocal line in the verse/chorus. A bit of relief after the last few tracks, so far. Bridge begins around 2:40. Just a pleasant pop song, really?not bad, not spectacular.

Track 11 - Lucky

Another slow start over some soft sound effects. Clean electric guitar gently strumming, and lead vocals give way to a wah-wah chord and the rhythm section joining in in the slightly faster & louder chorus. Some slightly distorted guitar joins on the second verse and a mellotron starts to build. Slide guitar enters on the next chorus. There are some chords on a featured guitar section (around 3:20) that remind me of the chords Steve Howe would use two years later that lead into the closing section of Homeworld (The Ladder). The lead guitar near the end sounds just slightly out of tune to my ears. Moderately good song.

Track 12 - The Tourist

Gentle clean electric guitar with a slight phasing effect with mellow lead guitar over top provide an introduction to the vocals. Nice singing at the beginning. A slow 6-8 rhythm underneath. The mellotron has the choral effect again backing the vocals. A bit of slightly dissonant lead guitar brings us to a soft harmonized vocal verse. This track is kinda making me sleepy. Once again, I feel Moody Blues meets U2. Thom Yorke sounds a bit like Bono to me. I think a baritone guitar (or drop tuned at least guitar enters for the solo at around 4:00. I'd say that this is one of the better songs on here. We close with a single glockenspiel chime.

OVERALL IMPRESSIONS

Ok, so listening to this album did change my opinion to a slightly more favorable one. But still, I'm not very impressed. Even the best songs? Karma Police, The Tourist and a few more moderately good ones?don't make it the dazzling masterpiece it is purported to be. There were a few tracks that were really hard on my ears (and not in a good way). I'll give this a 2 out of 5 stars. Didn't hate it as bad as I was afraid I might, but didn't really love it either. Sorry Radiohead fans?not quite.

I'll be honest I didn't spend a lot of time with this double cd set. We get an hour and forty five minutes worth of music from "The King Of Limbs" album where every track is remixed and one is even re-titled, but there's multiple versions of some of these songs like "Bloom" for example is on this set five times. Now each version is drastically different from the other but you really need to be a fanboy in my opinion to really enjoy this. The numbers 1 to 7 underneath the album's title refer to the seven EPs that these tracks were taken from. An eighth EP was released after this set was issued and is available only separately of course.

No liner notes but on the back cover is a list of the tracks and what they called the remix, for example the opening track "Little By Little" is called the Caribou RMX and then they list who added additional production, and it's Dan Snaith in the example I'm using. Atmosphere and beats standout to me on this recording. Some singing but electronics seem to rule the day here. It's just a lot of music but to be fair for the avid RADIOHEAD fan who wouldn't want this compilation of EPs in their collection, especially for fans of "TKOL" as it's put on the front cover.

I got this cd from my daughter who was getting rid of her cd collection. She was such a fan at one time and still is I guess as she asked me the other day if I'd checked out that THE SMILE band yet that consists of Greenwood, Yorke and a Jazz drummer. Not yet. This recording was still in it's package along with several others, busy girl. Going with 3 stars here.

4.5 stars. After the massive success of "OK Computer" RADIOHEAD went into the studio and created "Kid A" an experimental recording with soundscapes, along with that Krautrock vibe that Thom is into. In other words they made the album they wanted to make and took their time at it, creating enough material not only for "Kid A" but also the bulk of this album "Amnesiac" that I'm reviewing today. Pretty much every band that has a commercially successful album gets even more commercial on their next one so for RADIOHEAD to do what they did demands a lot of respect from yours truly.

And these two albums along with "A Moon Shaped Pool" are my top three RADIOHEAD albums with "Amnesiac" being my favourite. "The Bends" and "OK Computer" were unfortunately forever ruined for me for being my audio at the time when my life got hit with a major storm that almost drowned me. I will forever connect the music of those two albums with that time unfortunately. "In Rainbows" felt flat to me, not very inspired but "The King Of Limbs" impressed my and I actually got this "Amnesiac" cd from my daughter when she was getting rid of her collection a couple of years ago along with a re-mixed version of "King Of Limbs" a double cd that is still in it's package, so I will check that out soon hopefully.

I was so impressed with this after the initial listen that I wasn't sure if I just missed this band or it really was one of their best. I spent some time with most of their other studio albums recently and came to the conclusion that this is the one! My favourite RADIOHEAD album. If I had to describe this band to someone briefly who didn't know them, I'm thinking "melancholic and experimental with beats, electronics and mono- toned vocals". And how about the recently departed Jimmy Hastings, that horn and flute blowing gentleman who is on so many incredible Canterbury albums being on the closer here playing clarinet. Come on!

What a surprise to hear the uplifting guitar on "Knives Out" it's just so inspiring and out of character. A great contrast and detour in my opinion. My favourite is "I Might Be Wrong" and this might be my favourite song by them. Is that baritone guitar? Sounds awesome anyway as we get some energy. The vocals are Thom at his best. So yeah those two tracks I just mentioned smack dab in the middle of this album plus the closer with Hastings and other horn players.

That's a nice top three but there's something special about "Pyramid" that I can't ignore. Piano, atmosphere, vocal melodies all to start before he starts singing. Man this is good. Orchestral stuff too around 3 minutes and how about the atmosphere just before that. The opener added to "Pyramid" would give us a top five. "Dollars And Cents" sounds like a "Kid A" tune and it's a great track and the other one with orchestral music on it. The title track is one I'm really into as well.

This is just a consistent record for me and a real find. Thanks Sarah!

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".