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Radiohead

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Radiohead are an English rock band from Abingdon, Oxfordshire, initially formed in 1986. Originally named On a Friday,[1] Radiohead's lineup has remained the same since their original formation, with Thom Yorke (vocals/piano/rhythm guitar), Jonny Greenwood (lead guitar/keyboards), Ed O'Brien (guitar/backing vocals), Colin Greenwood (bass/synthesizers) and Phil Selway (drums).

Radiohead

At first influenced by 1980s alternative rock bands such as R.E.M., Pixies and Sonic Youth,[2] Radiohead released their first single, "Creep" in 1992. An unexpected worldwide hit from their debut album Pablo Honey (1993), "Creep's" success resulted in Radiohead being branded one-hit wonders.[3] The band finally received critical acclaim in the UK with their second album, The Bends (1995),[4] earning fans with their dense guitar atmospheres and frontman Thom Yorke's falsetto style of singing. Radiohead's third album OK Computer (1997) propelled them to greater attention; popular for its expansive sound and themes of alienation, many critics named it one of the landmark albums of the 1990s.[5]

The band reached their peak global popularity as their music became less conventional with their albums Kid A (2000) and Amnesiac (2001), which were influenced by electronic music, experimental jazz and avant garde classical, ranging from Autechre[6] to Charles Mingus and Olivier Messiaen.[7] Their latest album, Hail to the Thief (2003), was critically acclaimed for its mix of influences from all aspects of Radiohead's earlier work, combining guitars, electronic atmospheres and topical lyrics.[8]

Although the band's recent albums have polarised listeners,[9] Radiohead have often been cited as among the most creative musical groups of their era,[10] drawing crowds to their concerts[11] and influencing artists in many genres.[12] Radiohead have enjoyed surprising commercial success for a band of "outsiders"[13] but are seen by some to have maintained a spirit of musical and political independence[14] despite recording for EMI, a major label. Radiohead are currently without a label, and are working on their seventh studio album, expected for release sometime in 2007.[15]

Band members

See sections Changing roles, Close collaborators and Solo work for more information.

History

Formation and early years: 1986-1991

 
Abingdon School, where the band initially formed.

Radiohead were formed in the mid-1980s at the Abingdon School, a boys-only public school where all five members attended. They began to practice in the school's music room, which led to the formation of their first band, "On a Friday", so named because of their usual rehearsal day.[1] Jonny, the youngest member, joined as a harmonica player, but soon became the band's lead guitarist. [16]

When the five band members left Oxford to attend university they temporarily put On a Friday aside, though they continued to practice on holiday breaks. Following four years of inactivity, during which all the members except Jonny completed their degrees, the band reformed in 1991.[17] On a Friday began to record demos, such as the Manic Hedgehog Demo, and began to perform live again. As the band's live bookings increased, record labels started to show interest. The band finally signed a six-album recording contract with EMI, thanks to a chance meeting by Colin with EMI A&R man Keith Wozencroft at the record shop where Greenwood worked.[18] However, at the request of the label, the band changed their name to Radiohead, inspired by the title of a song on Talking Heads' True Stories album.[19]

Colin Greenwood later remarked that he thought "the way we got together [was] unusual. When we started, we were 15 years old in a boys school that wasn't that much fun. So we tried to [use] music as a way to find our own space away from it and kept doing it all the way through college."[20]

Pablo Honey and The Bends: 1992-1995

Radiohead's debut EP was produced by their managers Chris Hufford and Bryce Edge of Oxford's Courtyard Studios, who remain the band's managers today. Shortly after releasing the Drill EP in March 1992, the band hired producers Paul Kolderie and Sean Slade, known for their work with the Pixies and Dinosaur Jr., to produce their first album. Radiohead's debut album, Pablo Honey, was recorded in three weeks in an Oxford studio in autumn 1992.[21]

With the release of the single "Creep" in late 1992, the band began to receive attention from the British music press, though not all of it was favourable. The NME described them as "a lily livered excuse for a rock band,"[22] and the single was not played on Radio 1 because it was felt to be "too depressing".[23] The band subsequently released Pablo Honey in 1993. They began a tour of the United States, and released the single "Pop Is Dead". Radiohead nearly broke up due to the pressure of sudden success when "Creep" unexpectedly became a hit in the U.S. charts.[24] The Pablo Honey supporting tour extended into its second year, while the album continued to rise in popularity internationally, fuelled by "Creep," which still remains the band's largest worldwide hit.[3]

Following the end of the tour, Radiohead began work on their second album, and hired the veteran Abbey Road studios producer John Leckie, who had previously worked with The Stone Roses, and Pink Floyd. Tensions were high, as the band felt smothered both by "Creep's" success and the mounting expectations for a superior follow-up. According to Leckie: "It was either going to be 'Sulk', 'The Bends', 'Nice Dream', or 'Just'. We had to give those absolute attention, make them amazing, instant smash hits, number 1 in America. Everyone was pulling their hair and saying, 'It's not good enough!' We were trying too hard!"[25]

File:Radioheadjust.jpg
Four members of Radiohead in 1995's enigmatic music video for "Just". The video, an immediate sensation, depicted Radiohead's musical evolution from the grunge of Creep to the more mature style of their later albums.

The band responded by seeking a change of scenery, and toured Australasia and the Far East in an attempt to reduce the pressure. However, the band, once again confronted with their newfound popularity, began to feel discomfort at being "right at the sharp end of the sexy, sassy, MTV eye-candy lifestyle" that they were still feeling after "Creep's" mainstream success and popularity.[26] As a result, the 1994 EP My Iron Lung, featuring the single of the same title, marked a transitional stage between the pop-rock of Pablo Honey and the musical depth of their second album.[27] Having developed the remainder of the new songs on the road, Radiohead returned to Britain and completed the album in a fortnight in late 1994, mixing and releasing The Bends in May 1995. Template:Sample box start Template:Multi-listen start Template:Multi-listen item Template:Multi-listen item Template:Multi-listen end Template:Sample box end While a resurgent Britpop scene dominated the charts and the media's attention, Radiohead finally earned British success with The Bends, an album driven by dense riffs and ethereal guitar atmospheres. Thom Yorke's expressive falsetto in the singles "Fake Plastic Trees," "Just," and "High and Dry" helped the band remain popular in the increasingly Britpop-dominated scene, and as a result The Bends appeared in many end-of-year lists in 1995. Yet major success for the album did not come until the release of final single "Street Spirit (Fade Out)", which hit #5 in the UK. Looking back on the album's success in 1998, Jonny said, "I think the turning point for us came about nine or 12 months after The Bends was released and it started appearing in people's polls for the end of the year. That's when it started to feel like we made the right choice about being a band, I think."[28]

In summer 1995, Radiohead toured in support of R.E.M., one of their formative influences and at the time one of the biggest rock bands in the world.[2] Introducing his opening act, Michael Stipe remarked that "Radiohead are so good, they scare me".[29] The buzz generated by such famous fans, along with a series of distinctive music videos such as "Just", helped to expand Radiohead's popularity outside the UK.

Drummer Phil Selway commented on The Bends's surprise popularity by saying: "When The Bends came out everyone went on about how uncommercial that was. Twelve months later it was being hailed as a pop classic. The record company were worried there wasn't a single on it- and we ended up with five top 30 hits from it!"[30]However, while critically acclaimed, the album failed to match the worldwide commercial success of "Creep".

OK Computer: 1996-1998

 
Thom Yorke in concert

Thom Yorke said that The Bends succeeded because "we had to put ourselves into an environment where we felt free to work. And that's why we want to produce the next one ourselves, because the times we most got off on making the last record were when we were just completely communicating with ourselves, and John Leckie wasn't really saying much, and it was just all happening".[31]

One new song was already recorded for the album: "Lucky", recorded for the War Child charity's The Help Album. Radiohead contributed two songs to Baz Luhrmann's 1996 adaptation of Romeo and Juliet, "Talk Show Host" and "Exit Music (For a Film)". The former was a remix of one of the b-sides to "Street Spirit (Fade Out)", while the latter was a new song, eventually included on Radiohead's next album.

With the assistance of their engineer Nigel Godrich, Radiohead produced their next album themselves, beginning work in early 1996. By July they had recorded four songs with Godrich at their rehearsal studio, Canned Applause, a converted apple shed[32] near Didcot, Oxfordshire. Having learnt from The Bends, they decided to perfect the songs live, touring as an opening act for Alanis Morissette, before completing the record. The rest was recorded in actress Jane Seymour's 15th-century mansion,[33] St. Catherine's Court, near Bath. The recording sessions were relaxed, with the band playing at all hours of the day, and recording songs in different rooms. As a result, the album was finished by the end of 1996, and by March 1997, it was mixed and mastered.[34]

Commenting on the album's recording process, Ed O'Brien said: "The biggest pressure was actually completing it, we weren't given any deadlines and we had complete freedom to do what we wanted. We were delaying it because we were a bit frightened of actually finishing stuff". In another interview O'Brien said, "We were saying, 'Let's do it really straight ahead, let's not fuck around and spend ages analysing the material'. And we ended up doing 16 versions of 'No Surprises' and then went back to the first one. The problem is, we get bored very easily."[35] Template:Sample box start Template:Multi-listen start Template:Multi-listen item Template:Multi-listen item Template:Multi-listen end Template:Sample box end Radiohead released OK Computer in the summer of 1997 to much critical acclaim.[36] Largely composed of melodic rock songs, OK Computer found Radiohead introducing more uncommon musical elements, experimenting with song structures, ambient noise and electronics. The album was the band's first #1 UK chart debut, eventually propelling Radiohead to commercial success in many markets around the world. It received a Grammy for Best Alternative Album, and a nomination for Album of the Year.

Commenting on the album's success, Yorke has admitted that he is "actually 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. I figured that it wouldn't happen like that. I was really amazed about the way the people described how it sounded as well. "[37]

The release of OK Computer was followed by the "Against Demons" world tour, the band's biggest yet. Grant Gee, the director of the "No Surprises" video, accompanied the band on their tour and filmed the proceedings. The results were released as the 1999 "fly on the wall" documentary Meeting People Is Easy. Rather than depicting stereotypical rock n' roll behaviour, the film portrays the band's disaffection with the music industry and press that feted them, and shows their burnout[38] as they progressed from their first concert dates in mid-1997 to mid-1998, nearly a year later. During this time the band released a compilation of their music videos, (7 Television Commercials), and two EPs which compiled B-sides from OK Computer. One of them, Airbag/How Am I Driving?, was later seen by fans as a bridge between that album's progressive alternative rock and their subsequent more atmospheric, electronic work.[39]

Kid A and Amnesiac: 1999-2001

Exhausted by fame and on the verge of burning out following their 1997-1998 world tour, the band were largely inactive during 1999. Yorke later admitted that during that period the band came close to splitting up, and that he himself had developed severe depression. "New Year's Eve '98 was one of the lowest points of my life. I felt like I was going crazy...I was a complete fucking mess."[40] Radiohead's only appearance in 1998 was as the headlining act of an Amnesty International concert in Paris.[41]

In early 1999, Radiohead began work on a follow-up to OK Computer, though in a less organised fashion than with their previous albums. Although there was no longer any pressure or even a deadline from their record label, tensions during this period were high. The members all had different visions for the band's future, and Yorke, in his songwriting role, was experiencing writer's block.[42] Eventually, all the members agreed on a new musical direction, redefining their roles in the band.[43] For the first time the band recorded without considering live performance, secluding themselves with producer Nigel Godrich in a series of different studios from Paris to Copenhagen to Gloucester, to their own studio, newly complete in Oxford. In the process, they pared their forty new songs down to the thirty which ultimately featured on their subsequent two albums and accompanying b-sides.[44]

Radiohead did not attempt to create a stylistic sequel to OK Computer, but opted for a minimalist and textured style with less overt guitar parts. The new tracks featured more diverse instrumentation, including the ondes martenot, electronic beats, strings and jazz horns. However, they managed to retain some of the lyrical and musical hooks of their earlier records. "The trick is to try and carry on doing things that interest you, but not turn into some art-rock nonsense just for its own sake", Colin Greenwood said of the recording sessions,[45] which were completed in late spring 2000, after nearly 18 months.

Kid A, released on October 2, 2000, was the first of two albums taken from these recording sessions. Synthesised and claustrophobic, the album stunned both the music industry and Radiohead's fan base for its departures from their past work and from pop conventions. Although the band did not to release any singles from Kid A, promos of "Optimistic" and "Idioteque" received some radio play.[46] Instead, a series of "blips" or "antivideos" were created by directors Chris Bran and Shynola, together with the band's longtime artistic collaborator Stanley Donwood, and distributed free over the Internet; these 30-second largely animated videos were seen to tie in with the album's anti-consumerist themes.[47]

Template:Sound sample box align left

 
"Everything In Its Right Place"
from Kid A - The opening track from Radiohead's fourth album, this song emphasizes the band's increasing use of electronic music and distortions of Thom Yorke's vocals.
Problems playing this file? See media help.

Template:Sample box end

Yet the album achieved Radiohead's highest worldwide chart placement to date, debuting at number 1 in many countries, including the United States. Its debut at the top of the Billboard album chart, where OK Computer had peaked at #21, marked a first for the band, identifying them as one of the few modern British artists to penetrate the American market,[48] though the album fell off soon after. Although Kid A's success has been attributed both to massive hype and to the early availability of all the songs on the Internet file-sharing network Napster, accustoming fans to the new musical style,[49] it was seen as a result of anticipation after OK Computer.[50]

Kid A received a Grammy Award for Best Alternative Album and a nomination for Album of the Year. But while the press continued to brand Radiohead one of the world's most "important" rock bands, Kid A did not inspire universal praise. "I think a lot of writers expected us to come back with a combination of OK Computer and The Bends. The fact that we didn't do that means people who got their guitars out have had to put them back into the wardrobe", said Jonny Greenwood.[51] However, along with fans who were appalled or mystified, there were many who saw Kid A as the band's best work.[52] The record cemented Radiohead's enigmatic image, gaining them plaudits for courage and innovation.[53]

File:Jonnyelectronic.jpg
Jonny Greenwood on Saturday Night Live in 2000, using a modular synthesizer, an instrument that featured heavily in the recording of Kid A and Amnesiac.

On previous tours, Radiohead had performed in large, corporate-sponsored venues, but had expressed their distaste for them, with Jonny saying, "We played the 'Nissan Pavillion' [sic]. Next comes band sponsorship I suppose - 'Pepsi's Radiohead'. Most of me wishes we'd done our own (tiny) shows..."[54] However, for Kid A, Radiohead was inspired by Naomi Klein's No Logo, mounting a tour of Europe and North America, performing in smaller amphitheatres, rather than in stadiums.[55] Along with songs from Kid A, the band performed songs that had been recorded, but not yet released. Having rejected the possibility of a double album before Kid A, Radiohead settled on the release of another album to contain the remaining material.

Amnesiac, released in June 2001, comprised those further tracks. Conceived by the band as complementary but distinct sequences of songs, the two albums' connection was made explicit with different versions of the song "Morning Bell" appearing on both records. Amnesiac saw the band's sound coalesce into a similar hybrid of avant garde electronic music and art rock, though in contrast to Kid A it featured more influence from jazz, and slightly more accessible songs. The piano ballad "Pyramid Song" was released as Radiohead's first single since 1997, hitting the UK top 5, and the guitar single "Knives Out" followed. Critics who viewed Amnesiac as less accomplished than Kid A often cited a lack of cohesion. However, without quite matching its predecessor's sales, the album was critically acclaimed and a commercial success.

"I Might Be Wrong," initially planned as a third single, expanded into the band's first and thus far only live record. Released in autumn 2001, I Might Be Wrong: Live Recordings featured performances of Kid A and Amnesiac songs from various international concerts. The live versions of "The National Anthem," "I Might Be Wrong," and "Like Spinning Plates" were seen by fans as notably different from the studio recordings.[56] The album includes an acoustic performance of the previously unreleased, "True Love Waits".

After Amnesiac's release, the band embarked on a world tour, visiting North America, Europe and Japan. They staged a summer mini-festival in Oxford's South Park, featuring Beck, Sigur Rós, Supergrass, and Humphrey Lyttelton, who played trumpet on the last track of Amnesiac, "Life in a Glasshouse".

Hail to the Thief: 2002-2004

File:Radiohead ed.jpg
Ed O'Brien on tour

On the heels of the Amnesiac tour, the band took new material on the road in Portugal and Spain during July and August 2002. Using this opportunity to test and finalise the songs before an audience of their fans, the band completed the album in only two weeks in a Los Angeles studio with Nigel Godrich, with a few additional recordings done later in Oxford. The band released their sixth album, Hail to the Thief, in June 2003. Hail to the Thief is seen by critics as an attempt to distill and fuse the electronic and experimental influences of the previous two albums with the guitar-based rock music of Radiohead's early albums.[57] Although the album received many positive reviews, some criticised the band for treading water rather than continuing the 'genre-redefining' trend that OK Computer had begun.[58] Nonetheless, at the Grammys the album was nominated for Best Alternative Album - Radiohead's fifth straight nomination in that category. Producer Nigel Godrich received the Grammy Award for Best Engineered Album.

Although Hail to the Thief's title is assumed be a comment on the controversial U.S. presidential election of 2000, Yorke has denied this, explaining that the title has a wider meaning: "If the motivation for naming our album had been based solely on the [current] U.S. election, I'd find that to be pretty shallow."[59] Template:Sound sample box align rightTemplate:Sample box end Hail to the Thief was Radiohead's fourth consecutive UK #1 album, although it had more moderate commercial success in the US. It debuted at #3 on the Billboard chart, however it fell off the chart soon after. The album's lead single, "There There", peaked at #4 in the British charts, while subsequent singles "Go to Sleep" and "2+2=5" charted at #12 and #15 respectively. The single "There There" was a hit in Canada, and returned the band to U.S. modern rock radio favour, following several years without a song on playlists.

After the release of Hail to the Thief, Radiohead embarked on an international tour, which lasted about a year but was punctuated by long breaks,[60] as most members of Radiohead had families and children at home by this time. In June 2003 Radiohead headlined the main stage of the Glastonbury Festival, a sequel to their 1997 performance. Later in 2003, Radiohead contributed original music to Split Sides, a project of Merce Cunningham's dance company which involved their former touring partners Sigur Rós. The band finished the Hail to the Thief tour in mid-2004 with a performance at the Coachella Festival.

Following the tour, the band began writing and rehearsing in their Oxford studio, though went on hiatus when O'Brien had had a son, Salvador, in January 2004, and Colin Greenwood was awaiting the birth of his firstborn, Jesse. Free of any contractual obligations, Radiohead spent the remainder of 2004 resting and working on solo projects. The band released a DVD version of their webcast television show The Most Gigantic Lying Mouth of All Time in December 2004. Jonny Greenwood and Yorke collaborated with various other artists for the Band Aid 20 project, playing guitar and piano respectively.

Seventh studio album: 2005 - present

Main article: Radiohead's seventh studio album

Radiohead began work on their seventh album early in 2005, though to date the album has no confirmed title or release date. In the summer 2006, the band toured Europe and North America, and debuted 13 songs they have been working on. Although the band began by working with mixer Mark "Spike" Stent, since autumn 2006 they have been recording with longtime producer Nigel Godrich in several rural locations in England. Radiohead have stated that they will not tour until their new album is completed, according to Yorke "We are going off for the rest of the year basically, until it's done - we're not let out 'til it's done."[61]

The band is currently without a record contract, having fulfilled their six-album contract with EMI. In interviews in 2006, they admitted that "for the first time, we have no contract or release deadline to fulfill - it's both liberating and terrifying".[62] Radiohead have stated that they will not make a decision on how to release their new material until the album is completed, but that they do not plan to permanently re-sign to a label for more than one record at a time.[63] Yorke has hinted at the possibility of releasing a series of EPs rather than an full album, although he has ruled out the possibility of Internet-only distribution.[64] To date it is unknown whether the band intends to negotiate a new contract with a label for the release of current and future recordings.

Yorke has described the lyrical content of the forthcoming album as "about that anonymous fear thing, sitting in traffic, thinking, 'I'm sure I'm supposed to be doing something else'... it's similar to OK Computer in a way. It's much more terrifying. But OK Computer was terrifying too - some of the lyrics were."[65]

Changing roles

Radiohead's lineup has remained constant, but the band's evolving musical style is sometimes seen as a product of the variety of musical tastes and accomplishments of its members. Lead guitarist Jonny Greenwood is currently the BBC's Composer in Residence, the only classically trained member of the band, and a multi-instrumentalist, playing (aside from guitar and keyboard) the Ondes Martenot, banjo, viola and harmonica. Greenwood has arranged string orchestrations for Radiohead songs, including "Climbing Up the Walls", "How to Disappear Completely" and "Pyramid Song".

Lead singer Yorke plays guitar and piano, and was once a DJ and part of a techno group at university. In recent years he has focused on the digital manipulation of sound. Yorke and Greenwood are both credited with playing "laptop" on the band's most recent album, which further features electronic beats and samples created on computer.

Yorke is responsible for writing the majority of the lyrics, while both Yorke and Greenwood are seen as the main musical influencers within the band. However, songwriting is actually a collaborative effort. All members are cited equally on Radiohead's album credits, and interviews have revealed that all members have had an integral songwriting role. Bassist Colin Greenwood is credited with "Dollars & Cents", guitarist Ed O'Brien with "Karma Police" and "Treefingers", while drummer Phil Selway is credited with "Everything in Its Right Place".

The tense recording sessions for Kid A (2000) and Amnesiac (2001) completely changed Radiohead's method of working as they moved away from standard rock music instrumentation. Since then, Radiohead members have felt less constrained to stick to their primary instruments, and now regularly switch depending on the particular song requirements. However, their roles usually remain more stable when the band performs live.

Close collaborators

The band's spirit of collaboration is shown in their close relationship with their producers and engineers, in particular Nigel Godrich, and with artist Stanley Donwood. Godrich made his name with Radiohead by working with the band as coproducer since and including OK Computer. He was responsible for producing Thom Yorke's 2006 solo album, The Eraser. Godrich has sometimes been dubbed the "sixth member" of the band in an allusion to George Martin's work with the Beatles.[66]

Graphic artist Stanley Donwood is another longtime associate of the group, having produced all of Radiohead's album covers and visual artwork since 1994, often together with Yorke, whom he met at art school (Yorke himself is credited for artwork under the pseudonym "Tchock" or "The White Chocolate Farm"). Examples of Donwood's art range from oil paintings and computer generated imagery to collages and antique style posters. He prefers to work in the same place the band is recording so as to find a visual equivalent for their sound.[67] Together with Yorke, he won a Grammy in 2002 for a special edition of Amnesiac packaged as a library book.

Graeme Stewart has been Radiohead's sound engineer since their Kid A/Amnesiac sessions. He has further engineered Jonny Greenwood's and Yorke's respective solo albums Bodysong and The Eraser. Dilly Gent has been responsible for commissioning all Radiohead music videos since The Bends era, working closely with the band to find a director suitable for each project. Radiohead's roadie Plank has worked with them since their Bends years, and has achieved a degree of fame in his own right.[68]

Solo work

Main articles: Jonny Greenwood, Ed O'Brien, Phil Selway, and Thom Yorke
  • Jonny Greenwood appeared on Pavement's Terror Twilight in 1999, playing harmonica and guitar on several tracks. In 2003, he released Bodysong, an instrumental soundtrack he wrote for the documentary of the same name. His brother Colin Greenwood contributed bass and programming to the soundtrack. Since 2003, Jonny has composed "Smear," "Popcorn Superhet Receiver" and "Piano for Children" in his capacity as the BBC's resident composer. In 2005 Greenwood, along with Radiohead drummer Phil Selway, appeared in Harry Potter and the Goblet of Fire as part of a fictional band fronted by Pulp's Jarvis Cocker; they recorded several songs available on the official soundtrack to the film. In 2006 Greenwood was chosen as Composer of the Year in the British Composer Awards voted by BBC Radio 3 listeners, for his piece "Popcorn Superhet Receiver".[69]
  • In 1999, Ed O'Brien contributed to the soundtrack for Eureka Street, a British television miniseries; the soundtrack was released on CD by the BBC. In late 2000, Ed and Phil toured with Neil Finn, Johnny Marr and others for 'Seven Worlds Collide'. In 2002, O'Brien contributed guitar to several tracks on Enemy of the Enemy, an album by Asian Dub Foundation also featuring Sinéad O'Connor.
  • In late 2000, Phil Selway toured for 'Seven Worlds Collide'. In 2005 Selway, along with Jonny, appeared in Harry Potter and the Goblet of Fire as part of a fictional band fronted by Jarvis Cocker; they recorded several songs available on the soundtrack. Later that year, Selway performed live with Nigel Powell's band Dive Dive; Powell was the former drummer of Andy Yorke's band Unbelievable Truth.

Discography

Main article: Radiohead discography
  1. Pablo Honey - February 22 1993 - #22 (UK) Platinum , #32 (U.S.) Platinum
  2. The Bends - March 13, 1995 - #4 (UK) 3x Platinum , #88 (U.S.) Platinum
  3. OK Computer - June 16, 1997 - #1 (UK) 3x Platinum , #22 (U.S.) 2x Platinum
  4. Kid A - October 2, 2000 - #1 (UK) Platinum, #1 (U.S.) Platinum
  5. Amnesiac - June 4, 2001 - #1 (UK), #2 (U.S.) Gold
  6. Hail to the Thief - June 9, 2003 - #1 (UK) Platinum, #3 (U.S.) Gold

Notes

  1. ^ a b "Dork Radio. Caren Myers. Details Magazine, November 1993". Retrieved 2007-03-11.
  2. ^ a b Dennis, Jon (2003-05-02). "Radio days". The Guardian. Retrieved 2007-03-17. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  3. ^ a b Stoute, Lenny (1995-06-01). "Runaway hit a mixed-blessing for U.K.'s Radiohead". Toronto Star. followmearound.com. Retrieved 2007-03-18. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  4. ^ "Acclaimed Music - The Bends". Retrieved 2007-03-18.
  5. ^ "Acclaimed Music: OK Computer". Acclaimed Music. Retrieved 2007-02-21.
  6. ^ Swenson, Kylee (2001). "A Spy In The House Of Music". MC. Retrieved 2007-03-17. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  7. ^ Smith, Andrew (2000-10-01). "Sound and Fury". The Observer. Retrieved 2007-03-17. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  8. ^ "Radiohead: Hail to the Thief (2003): Reviews". Metacritic.com. Retrieved 2007-03-17.
  9. ^ "BBC/Your views on Amnesiac". BBC News. Retrieved 2007-03-01.
  10. ^ "NY Times (reprinted in Taipei) Radiohead rejuvenated. July 2, 2006". Retrieved 2007-01-27.
  11. ^ Empire, Kitty (2006-05-21). "New Yorke state of mind". The Guardian. Retrieved 2007-03-18. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  12. ^ See Covers of Radiohead Songs for some acts that have covered Radiohead songs.
  13. ^ ""The Searchers: Radiohead's unquiet revolution." Ross, Alex. The New Yorker, August 20 and 27, 2001". Retrieved 2007-03-11.
  14. ^ "Burton, Sarah. "Art and Politics: A Discussion with [[Howard Zinn]] and Thom Yorke"". Retrieved 2007-02-21. {{cite web}}: URL–wikilink conflict (help)
  15. ^ "Radiohead returns to studio". Spin Magazine. 2007-01-19. Retrieved 2007-03-18. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  16. ^ Gulla, Bob. "Radiohead - At Long Last, A Future For Rock Guitar". Guitar Magazine. Retrieved 2007-03-17. {{cite news}}: Cite has empty unknown parameter: |coauthors= (help)
  17. ^ "Radiohead: A Band Profile. Ben French". Retrieved 2007-03-11.
  18. ^ Hoskyns, Barney (9-1997). "we have lift-off". Mojo magazine. Retrieved 2007-03-17. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  19. ^ McLean, Craig (2006-06-18). "All messed up". The Guardian. Retrieved 2007-03-17. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  20. ^ "Subterranean Aliens. Request Magazine, September 1997". Retrieved 2007-03-11.
  21. ^ Randall, Mac (1998-04-01). "The Golden Age of Radiohead". Guitar World. greenplastic.com. Retrieved 2007-03-18. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  22. ^ "Radiohead: The right frequency. [[BBC News]]". Retrieved 2007-03-11. {{cite web}}: URL–wikilink conflict (help)
  23. ^ "BBC Music Profiles: Radiohead.". Retrieved 2007-03-11.
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  26. ^ "Reynolds, Simon. Walking on Thin Ice. The Wire, July 2001". Retrieved 2007-03-11.
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See also

Online references

Books

  • Radiohead: An Illustrated Biography by Nick Johnstone (1997, ISBN 0-7119-6581-1)
  • Radiohead: Hysterical and Useless by Martin Clarke (2000, ISBN 0-85965-332-3)
  • Radiohead: Standing on the Edge by Alex Ogg (2000, ISBN 0-75221-843-3)
  • Exit Music: The Radiohead Story by Mac Randall, (2000, ISBN 0-385-33393-5)
  • Radiohead: Back to Save the Universe by James Doheny (2002, ISBN 1-56025-398-3)
  • The Music and Art of Radiohead edited by Joseph Tate (2005, ISBN 0-7546-3980-0)
  • Radiohead: The Complete Guide to Their Music by Mark Paytress (2005, ISBN 1-84449-507-8)
  • Welcome To The Machine: OK Computer and the Death of the Classic Album by Tim Footman (2007, ISBN 1-84240-388-5)

Dissertations

 
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