• Radiohead Ok Computer Album

When Capitol released a few different shortcuts through Radiohead's career late last year, we were indifferent to its cause, citing a lack of need and poor selection. Most fervent Radiohead fans would have wasted their money buying these packages, and most people interested in the band would be best served by their actual albums. Well, Capitol has now begun to roll out those parent albums- starting with the group's three 1990s releases ( Pablo Honey, The Bends, OK Computer)- again, without the band's participation. This time, however, the label is doing it right, dressing the releases up with the right accoutrements: B-sides from the era (and since the era overlapped with two-part CD singles, there are plenty), radio sessions, and music videos.For an epochal, era-defining band, Radiohead had an unusual beginning, looking like they'd wind up one-hit wonders, chancers callously attaching themselves to a sound and moment yet with few ideas of their own. That first hit, 'Creep', with its loud/soft dynamic and self-loathing lyric, fit snugly into the post-Nirvana alt-rock landscape- no surprise: Radiohead copped as much from 80s indie rock as their Pac NW brethren did. Yet instead of being hamstrung by platinum success, Radiohead abandoned careerist moves for artistic ambitions, moving quickly to incorporate the record-collector's music of post-rock and Mo Wax, the post-dance, spiritually nurturing end of UK rock, and the pre-millennial tension of IDM and trip-hop.By the end of the 90s, Radiohead hadn't supplanted U2, R.E.M., Oasis, and Metallica as the world's biggest rock band.

Radiohead - The Bends.zip ( 95.5 MB ) Radiohead - The Bends.rar ( 43.66 MB ) Radiohead-The Bends (320).zip ( 122.6 MB ). At some point in the early 21st century, Radiohead became something more than a band: they became a touchstone for everything that is fearless and adventurous in rock, inheriting the throne from David Bowie, Pink Floyd,.

But it was largely agreed upon that they were the world's best- and with hindsight, arguably, along with the White Stripes, the last indie-friendly group to conquer the world and punch in the same weight class as early 90s alt-rock giants like Nine Inch Nails, Pearl Jam, Green Day, or Red Hot Chili Peppers. That they used this critical and commercial currency to such dazzling effect on Kid A and Amnesiac is still one of the highlights of this decade; that the press, especially in the UK, chose the more familiar and necrophiliac 'new rock revolution' over the relatively pioneering Radiohead is one of the decade's lows.UK rock, for all its heady artistry and visionaries throughout the 60s, 70s, and 80s, had been slumming it a bit when Radiohead first emerged.

Size and grandeur, which would become the goals for too many UK guitar bands by the end of the Britpop era, were largely missing from that country's indie scene when Radiohead started recording in 1992. Sure, the Stone Roses had trumpeted their own greatness a few years earlier, but most of the era's indie music was introspective, bands content to gaze at their shoes rather than aim for the back of the venue.Radiohead's early, full-bodied music was, in most circles then, dismissed as empty Americanisms- and not without reason. The expansive Pablo Honey set- the 12-song album accompanied by 22 extras- mostly highlights a group in hock to U.S.

Indie heroes Pixes and Dinosaur Jr. (with the occasional R.E.M. Homage tossed in- see: 'Lurgee'). The loose 'Anyone Can Play Guitar' and delicate 'Thinking About You' thankfully break up the 120-minute mood, but most of the rest of the album is squarely in the post-grunge wheelhouse. That's not always a bad thing: 'Stop Whispering', opener 'You', and a re-recorded version of early single 'Prove Yourself' hold up well- and 'Creep' has oddly gotten better with age.

Elsewhere, the dreadful 'Pop Is Dead', and songs like 'How Do You?' , 'I Can't', 'Ripcord', and 'Vegetable' are run of the mill at best.If Pablo Honey didn't betray hints of the band Radiohead would become, neither did its B-sides. Unlike contemporaries such as Blur, who used their non-album material to explore new ideas or moods, Radiohead's Pablo Honey-era work is primarily lesser versions of the album. The extra material kicks off with their debut release, the Drill EP, which features three rudimentary versions of LP tracks, plus 'Stupid Car', the first of Thom Yorke's odd automobile-themed fixations (still to come: 'Killer Cars', 'Airbag', the 'Karma Police' video.) From there, it's a mishmash of alternate takes and also-rans (highlight: the U.S. Single version of 'Stop Whispering'), with only the shoegazey 'Coke Babies' and an acoustic version of early political commentary 'Banana Co.' (released in much better form on The Bends package) worth exploring more than a few times.I distinctly remember then the first time someone suggested The Bends was a great record. Not being one of the million-plus Pablo Honey owners at the time, I was content to hear 'Creep' on the radio over and over and expected I'd soon spend about as much about time with Radiohead's catalog as one would with, say, Hum or Ned's Atomic Dustbin or School of Fish.

Radiohead Ok Computer Album

The My Iron Lung EP had beaten The Bends to U.S. Record shelves by a few months, and the 'High and Dry' / 'Planet Telex' single was out a few weeks prior as well, but few noticed. Anyone who had explored those two earlier singles, however, would have been excited for the LP.A reaction to the success of 'Creep', 'My Iron Lung' found Radiohead still exploring the loud/soft dynamic, but guitarist Jonny Greenwood was also locating his own identity and Yorke, inspired by Jeff Buckley, was using a wider vocal range, including some falsetto. Balancing a slightly artier sense of musical self-destruction with a sinewy guitar line, on 'Lung' Radiohead found new ways to pick apart and re-construct the typical alt-rock template.